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20th Century & Contemporary Art Day Sale

New York, 17 November 2016

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133 . Thomas Demand

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2016 Brice Marden / Artists Rights Society (ARS), New York

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153. Brice Marden

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Dana Schutz, Courtesy of the artist

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114. Dana Schutz

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144. Keith Haring

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20th Century & Contemporary Art. Chairman & Senior Advisors

Jean-Paul Engelen Robert Manley Hugues Jofre Francesco Bonami Arnold Lehman
Worldwide Co-Head of Worldwide Co-Head of Chairman, UK & Europe Senior Advisor to Senior Advisor to
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Art Robert Rauschenberg Foundation/Licensed by VAGA, New York, NY

142. Robert Rauschenberg

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20th Century & Contemporary Art
Day Sale
New York, 17 November 2016

Auction & Viewing Location 20th Century & Contemporary Art Department
450 Park Avenue New York 10022
Head of Sale
Auction John McCord +1 212 940 1261
17 November 2016 at 11am jmccord@phillips.com

Viewing Associate Specialists


5 16 November Katherine Lukacher +1 212 940 1215
Monday Saturday 10am - 6pm klukacher@phillips.com
Sunday 12pm - 6pm
Samuel Mansour +1 212 940 1219
Sale Designation smansour@phillips.com
When sending in written bids or making
enquiries please refer to this sale Cataloguer
as NY010816 or 20th Century & Annie Dolan +1 212 940 1288
Contemporary Art Day Sale. adolan@phillips.com

Absentee and Telephone Bids Administrator


tel +1 212 940 1228 Carolyn Mayer +1 212 940 1206
fax +1 212 924 1749 cmayer@phillips.com
bidsnewyork@phillips.com

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101. Matt Connors b. 1973

Second Pitch - Shif


signed, titled and dated Matt Connors 2015 Second Pitch -
Shif on the reverse
acrylic and pencil on canvas
58 x 46 in. (147.3 x 116.8 cm.)
Executed in 2015.

Estimate
$30,000-40,000

Provenance
Cherry and Martin, Los Angeles
Private Collection

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102. Sol Calero b. 1982

Untitled (Bienvenidos a Nuevo Estilo)


signed and dated Sol Calero 2014 on the reverse
oil on canvas
51 1/4 x 40 1/4 in. (130.2 x 102.2 cm.)
Painted in 2014.

Estimate
$5,000-7,000

Provenance
Laura Bartlett Gallery, London
Acquired from the above by the present owner

Exhibited
London, Laura Bartlett Gallery, Sol Calero: Bienvenidos a
Nuevo Estilo, April 5 - May 3, 2014

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103. Vittorio Brodmann b. 1987

Inside the Beehive


signed and dated Vittorio Brodmann 2014 on the overlap
oil on canvas
47 1/4 x 35 3/8 in. (120 x 90 cm.)
Painted in 2014.

Estimate
$10,000-15,000

Provenance
Galerie Gregor Staiger, Zurich
Acquired from the above by the present owner

Exhibited
Zurich, Galerie Gregor Staiger, Wenn alles Fleisch wie Kalk
zerstubt, August 30 - October 4, 2014

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104. Jamian Juliano-Villani b. 1987

The Man from Bozrah


signed, titled and dated JAMIAN JULIANO-VILLANI 2014
THE MAN FROM BOZRAH on the reverse
acrylic on canvas
29 7/8 x 40 1/8 in. (76 x 101.8 cm.)
Painted in 2014.

Estimate
$25,000-35,000

Provenance
Private Collection, Italy
Phillips, London, April 13, 2015, lot 12
Acquired at the above sale by the present owner

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105. Michael Williams b. 1978

The Man Who Never Worries


signed, titled and dated MICHAEL WILLIAMS The Man
Who Never Worries 2010 on the reverse
oil, acrylic and graphite on canvas
72 x 54 in. (182.9 x 137.2 cm.)
Executed in 2010.

Estimate
$60,000-80,000

Provenance Exhibited
Parker Jones Gallery, Los Angeles Los Angeles, ltd los angeles, Michael Williams Puzzle
Acquired from the above by the present owner Paintings, October 29 - November 27, 2010

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106. Korakrit Arunanondchai b. 1986

My trip to the White Temple 3


signed and dated Krit 2013 on the reverse
denim on digitally printed canvas with foil stamping
87 1/2 x 56 in. (222.3 x 142.2 cm.)
Executed in 2013.

Estimate
$20,000-30,000

Provenance Exhibited
Bill Brady Gallery, Kansas City Kansas City, Bill Brady Gallery, Painting with history in
Acquired from the above by the present owner a room flled with men with funny names 2 September
13 - October 19, 2013

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107. Korakrit Arunanondchai b. 1986

Untitled
signed with the artists initials and dated Ka 2013
denim, spraypaint and inkjet print on canvas
57 x 43 in. (144.8 x 109.2 cm.)
Executed in 2013.

Estimate
$40,000-60,000

Provenance
Private Collection

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108. Rashid Johnson b. 1977

Ulysses
signed Rashid Johnson on the reverse
white ceramic tile, black soap and wax
72 1/4 x 49 3/4 in. (183.5 x 126.4 cm.)
Executed in 2012.

Estimate
$60,000-80,000

Provenance
Hauser & Wirth, New York
Acquired from the above by the present owner

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109. Seth Price b. 1973

Diferent Kinds of Art 4


screenprint on vacuum formed high-
impact polystyrene
54 x 26 1/2 x 4 in. (137.2 x 67.3 x 10.2 cm.)
Executed in 2004.

Estimate
$80,000-120,000

Provenance
Reena Spaulings Fine Art, New York
Acquired from the above by the present
owner

Exhibited
New York, Reena Spaulings Fine Art,
Seth Price, 2004
New York, MoMA PS1, Greater New York
2005, March 13 September 26, 2005

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110. Jef Elrod b. 1966

The Interwebs
acrylic and spray paint on linen
102 x 72 in. (259.1 x 182.9 cm.)
Executed in 2008.

Estimate
$100,000-150,000

Provenance
Leo Koenig Inc., New York
Acquired from the above by the present owner

Exhibited
New York, Leo Koenig Inc., Jef Elrod, October 17 -
November 15, 2008

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111. Kelley Walker b. 1969

I see the right, mirrored; in the center a sof Volkswagen


signed and dated Kelley Walker 2004 on the reverse of
the right dark blue element
mirrored Plexiglas, in 4 parts
92 1/2 x 96 in. (235 x 243.8 cm.)
Executed in 2004.

Estimate
$150,000-200,000

Provenance
Paula Cooper Gallery, New York
Acquired from the above by the present owner

In Kelley Walkers I see the right, mirrored; in the the early part of the 2000s, right around when
center a sof Volkswagen from 2004, viewers Walker began his series of inkblot mirrors. The
are confronted with their own refections in artists impressive inkblots in this series are
mirrored acrylic surfaces of midnight blue, silver exceptional examples of his unique re-appropriation
and turquoise. Composed of four thin surfaces of relevant imagery found within the fabric of our
attached to the wall in layers, the present lot is social and cultural histories. As such, each of the
impressive both in surface and in scope, acting works in Walkers oeuvre is signifcant in its ability
as both a sculpture and a wall-bound work. It is to connect with the viewer on a familiar level, yet
shaped like a Rorschach ink blot, a universally the Rorschach inkblots are particularly signifcant
recognizable motif named afer the psychological in their aesthetic: the mirrored surface. What the
test that rose to prominence in the 1960s. In viewer sees is not just a familiar image, but rather
the Rorschach inkblot test, the subject was themselves within the shapes. A refection is
asked to respond to a series of shapes, and their broken by the contours of the inkblot throughout
interpretations in turn were intended to refect the composition, and varied by the rich hues of the
key personality diferences, or sometimes, the four surfaces, leaving each individual viewer with a
presence of a psychological disorder. Met with unique experience of refecting on the work.
controversy, the test was ultimately banned in

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112. Danh Vo b. 1975

We Try Harder
gold leaf on blueprint paper
27 1/2 x 41 1/4 in. (69.9 x 104.8 cm.)
Executed in 2011.

Estimate
$40,000-60,000

Provenance
Galerie Chantal Crousel, Paris
Private Collection

Exhibited
Paris, Galerie Chantal Crousel, Danh Vo, April 6 -
May 13, 2011

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113. Sue Williams b. 1954

Big Red Shoes


signed, titled and dated Sue Williams 98 Big Red Shoes
on the reverse
oil and acrylic on canvas
82 x 104 in. (208.3 x 264.2 cm.)
Painted in 1998.

Estimate
$40,000-60,000

Provenance
Sadie Coles HQ, London
Private Collection
Christies, New York, May 18, 2001, lot 413
Acquired at the above sale by the present owner

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114. Dana Schutz b. 1976

Hand
signed and dated Dana Schutz 2004 on the reverse
oil on canvas
60 x 90 in. (152.4 x 228.6 cm.)
Painted in 2004.

Estimate
$220,000-280,000

Provenance
Zach Feuer (LFL Gallery), New York
Acquired from the above by the present owner in
November 2004

Exhibited
New York, Zach Feuer (LFL Gallery), Dana Schutz:
Panic, November 8 - December 11, 2004
Washington, D.C., The Corcoran Gallery of Art, 48th
Corcoran Biennial: Closer to Home, March 19 - June 27,
2005
SITE Santa Fe, Dana Schutz, September 23 - December
26, 2005
Waltham, Rose Art Museum of Brandeis University,
Dana Schutz: Paintings 2002-2005, January 18- April 9,
2006, p. 51 (illustrated)
Contemporary Arts Museum St. Louis, Cryptic, May 20
- August 14, 2011
New York, National Academy Museum & School, Annual
2014: Redefning Tradition, June 9 - September 7, 2014

Literature
Eleanor Heartney, Dana Schutz at Zach Feuer (LFL),
Art in America, June/July 2005
Cate McQuaid, Hot Tones, Cool Eye, The Boston
Globe, January 17, 2006
Denise Taylor, Rose Art Museum Showcases a Rising
Star, The Boston Globe, January 26, 2006, p.8
Jonathan Safran Foer & Barry Schwabsky, Dana Schutz,
New York, 2010, pp. 68-69 (illustrated)

I dont write out stories, in the way a writer would; the


situations are very loose. I never want the viewer to
have to know the whole story to get the painting.

Dana Schutz

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115. George Condo b. 1957

Memories of Spain
signed, titled and dated George Condo 91 Memories of
Spain on the reverse
oil on canvas
82 x 78 1/8 in. (208.3 x 198.4 cm.)
Painted in 1991.

Estimate
$200,000-300,000

Provenance
Simon Lee Gallery, London
Private Collection, Paris
Phillips de Pury & Company, New York, March 31, 2008,
lot 117
Private Collection, Belgium (acquired at the above sale)
Phillips de Pury & Company, New York, May 11, 2012, lot 157
Private Collection, New York (acquired at the above sale)
Acquired from the above by the present owner

George Condos abstract paintings of the late 20th The present lot, Memories of Spain, 1991, seems
century are unique in their appropriation of various to fall in a unique place between the two series,
languages of representation, transformed into bearing similarities to his musically-inspired
the personal language of the artist himself. His paintings from Portraits Lost in Space and
colorful, expansive canvases bear resemblance Expanding Canvas. In Memories of Spain,
to Pablo Picassos cubism, Joan Mir surrealist Condo fuses the abstract articulation of jazz with
compositions, Willem de Koonings grotesque the biomorphic forms and colors found in the art
fguration, and Jackson Pollocks drips, all at once. of Mir. Unlike his jazz paintings, in which the
Afer his Expanding Canvas series of the 1980s, musicians name is juxtaposed with the free-
the motifs of which are particularly reminiscent fowing abstract application of the paint, here
of the forms found in de Koonings fgurative and music is suggested aesthetically through the
abstract work, Condo experimented with the dots, squares, and ordered black shapes that call
infuence of other art forms on his work, such to mind sheet music and the genres sporadic
as jazz music. For Condo, abstraction and jazz nature. Memories of time spent in Spain appear
both share aspects of improvisation and creative on the canvas as homage to the unique spatial
freedom. In his Portraits Lost in Space series arrangements found in Mirs compositions. As
from the 1990s, Condo experiments with this idea Laura Hoptman explains, Filtered through Condos
in abstract canvases interspersed with the names mind, the experience and moment, the subject of
of famous jazz musicians. Similar to some of his memories is the way in which the younger artist has
modern predecessors like Wassily Kandinsky, assimilated the vocabulary of the older one. (Laura
Condo fuses the symbolic associations of sound, Hoptman, Abstraction as a State of Mind, George
color and abstraction. In this series the stylization Condo: Mental States, exh. cat., New Museum,
of abstract form and the speedy unpredictable New York, 2011, p. 27). In this way, the present
nature of jazz arrangements complement each lot is a testament to Condos ability to redefne
other, one in direct dialogue with the other. modernist interpretations and express them in new
and innovative ways, while still evoking a sense of
nostalgia for paintings past.

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116. Kara Walker b. 1969

Untitled
signed and dated Kara Walker 2004 on the reverse
cut paper on canvas
86 x 128 in. (218.4 x 325.1 cm.)
Executed in 2004.

Estimate
$200,000-300,000

Provenance
Brent Sikkema, New York
Acquired from the above by the present owner in September
2004

Exhibited
New York, P.S.1 Contemporary Art Center; Berlin, KW
Institute for Contemporary Art; Rome, MACRO Museo
dArte Contemporanea, Into Me/Out of Me, June 25, 2006 -
September 30, 2007

Kara Walkers Untitled work is a powerful example divide. The silhouette says a lot with very little
of the artists critical interpretation of societal information, she says, but thats also what
stereotypes, explored through the simple art the stereotype does. (Kara Walker, quoted in a
form of cut paper. Walker is unique in her ability conversation with Lisa Dorin, Rise Up Ye Mighty
to address the power struggles of race, gender Race!, The Art Institute of Chicago, 2013, online)
and sexuality through an innocent, childlike
medium. The present lots three fgures, which are Alongside masterpieces by other artists
composed of two white and one gray silhouettes concerned with societal generalizations and
collaged against a pitch black background, are longstanding issues of identity, this specifc
erected in a monumental scale, with the entire Untitled work was included in the 2006 exhibition
composition measuring over seven feet tall and Into Me/Out of Me at MoMA P.S. 1. Within this
ten feet wide. The two large white female fgures context of works by Marina Abramovi, Chris
fank the middle male, towering over him. As Burden, Bruce Nauman, and others, the work
silhouettes, these fgures are stripped of any stands out as a powerful example of how artists
sort of identity, yet their superior stance evokes take examples from their own personal histories
a sense of power over the man who seems to be and illustrate them to make broader statements.
cowering beneath them. The scene exemplifes In its sheer size, this work confronts the viewer
the artists series of works that illustrate slavery, with the question of whether or not these issues
presenting storylines in an absurdly simplifed have become completely extinct, attempting the
manner. These fat, white caricatures represent answer that they are still very much present in
female slave masters, violently approaching the the fabric of our lives. Walker herself has called
black slave victim in the center. By reducing the this personal confict her ever-present, never-
fgures to simple shapes and shades of black ending war with race. (Kara Walker, quoted in a
and white, the artist plays upon the notion that conversation with Lisa Dorin, Rise Up Ye Mighty
stereotypes exist on both sides of the racial Race!, The Art Institute of Chicago, 2013, online)

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Thats what I liked about the fgures...they seemed to evoke the
glory of Egpt while remaining completely ridiculous.

Joe Bradley

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117. Joe Bradley b. 1975

Untitled (Human Form)


each signed, titled and dated
HUMAN FORM Joe Bradley 2011
on the overlap
silkscreen on canvas, diptych
each 96 x 63 in. (243.8 x 160 cm.)
Executed in 2010.

Estimate
$150,000-200,000

Provenance
CANADA, New York
Acquired from the above by the
present owner

Exhibited
New York, CANADA, Human Form,
January 13 - February 21, 2011

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118. Sam Durant b. 1961

Strike
vinyl text on electric sign
48 1/8 x 60 5/8 in. (122.3 x 154 cm.)
Executed in 2003, this work is artists proof 1
from an edition of 3 plus 2 artists proofs and
is accompanied by a certifcate of authenticity
signed by the artist.

Estimate
$30,000-40,000

Provenance
Blum & Poe, Los Angeles
Acquired from the above by the present owner

Exhibited
Brussels, Praz-Delavallade & Vedovi, Sam Durant,
September 24 - October 24, 2015 (another
example exhibited)

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119. Kelley Walker b. 1969

Untitled
four-color process silkscreen on canvas with LIFE
Magazine: November 1978
40 x 34 in. (101.6 x 86.4 cm.)
Executed in 2009.

Estimate
$40,000-60,000

Provenance
Paula Cooper Gallery, New York
Acquired from the above by the present owner

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120. John Gerrard b. 1974

Animated Scene (Oil Field) 1 (red)


signed, titled, numbered and dated John Gerrard
animated scene (OIL FIELD) 4/6 (Right) 2007 on a
card inside artists box
simulation in artists Corian frame
overall 59 1/2 x 71 x 25 in. (151.1 x 180.3 x 63.5 cm.)
Executed in 2007, this work is number 4 from an
edition of 6.

Estimate
$40,000-60,000

Provenance
Galerie Ernst Hilger, Vienna
Private Collection (acquired from the above in 2007)
Acquired from the above by the present owner

John Gerrards desolate landscape scenes have at a slow and rapid pace. The lack of human
redefned contemporary digital practices over the presence, a feature common in Gerrards work,
last decade. Born in Ireland and based in Vienna highlights the mechanical nature of the process
and Dublin, Gerrard relies not on his homeland and the lack of manpower involved. Instead of
for subject matter, but on the oil rigs, open felds a human dominating the composition, the oil
and rural vistas of middle-America, resulting in rig is the main fgure, as if posing for a moving
imagery that is not patriotic, but instead overtly portrait. It is both a symbol for the destruction
realistic and at times tragic. of Americas landscape and a necessary evil in
the fabric of our lives, the defning action of
The present lot showcases an oil feld rendered our social realities of our oil age, according
in the artists characteristic real-time computer to Gerrard himself (Blake Gopnik, Art Review:
graphic technique. Animated Scene (Oil Field) John Gerrard exhibit at Hirshhorn, Washington
from 2007 features an oil derrick, as its moves Post, November 5, 2009, online). As Alan Artner
up and down in constant slow motion. In the describes the efect of the artists technical
background, a gray sky varies in tone with the process in his 2008 review of Gerrards work,
movement of the clouds, captured in real-time The pity in the subject comes to viewers
and highlighting the cyclical motion of the oil subliminally through a visual poem of complexity
rig as it works across the landscape. Like the and power. (A new medium emerges at
rest of Gerrards projections, or self-described resurgent Artropolis, Chicago Tribune, April 16,
simulations, it is displayed on a movable fat 2008, online). Gerrards Animated Scene (Oil
screen monitor that meets the viewer at eye Field) thus brings to mind the irrevocable forces
level. One approaches the piece as if walking into of modern mechanization, those which continue
the desolate scene, captivated by the 8-minute to transform the landscape that we occupy, in an
sequence which seems to simultaneously move aesthetically compelling way.

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121. Dan Colen b. 1979

To Be Titled
chewing gum on canvas
31 x 25 in. (78.7 x 63.5 cm.)
Executed in 2008.

Estimate
$30,000-50,000

Provenance
Peres Projects, Berlin
Acquired from the above by the present owner in May 2008

Exhibited
New York, Asia Song Society, Sack of Bones, March 24 -
May 2, 2008

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122. Joe Bradley b. 1975

Untitled
signed and dated Joe Bradley 2014 on the overlap
silkscreen ink and oil on canvas
40 1/4 x 30 in. (102.2 x 76.2 cm.)
Executed in 2014.

Estimate
$50,000-70,000

Provenance
CANADA, New York
Private Collection, New York

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123. Adriana Lara b. 1978

S.S.O.R. (24)
oil on canvas, triptych
each 24 x 18 in. (61 x 45.7 cm.)
Painted in 2012.

Estimate
$8,000-12,000

Provenance
Greenspon Gallery, New York
Private Collection

Exhibited
Kunsthalle Basel, Adriana Lara S.S.O.R., September 23 -
November 11, 2012

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124. RETNA b. 1979

Quiero Mis Amigos De Regresso


signed and titled RETNA Quiero Mis Amigos
De Regresso on the reverse
enamel, acrylic and crystalline on canvas
60 x 48 in. (152.4 x 121.9 cm.)
Executed in 2013.

Estimate
$25,000-35,000

Provenance
Kohn Gallery, Los Angeles
Acquired from the above the present owner

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125. Robert Longo b. 1953

Untitled (Ophelia)
signed and dated Robert Longo 2010 lower right
ink and charcoal on mounted paper
45 1/2 x 39 1/4 in. (115.6 x 99.7 cm.)
Executed in 2010.

Estimate
$150,000-200,000

Provenance
Galerie Thaddeus Ropac, Paris
Acquired from the above by the present owner

the roses and the bombs and the waves are things that exist at the moment
of their being: a bomb is meant to explode, a rose is born to bloom, a wave is
destined to crash. They are at the moment of their fulfllment

Robert Longo

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126. Jack Goldstein 1945-2003

Untitled
acrylic on canvas
96 x 132 in. (243.8 x 335.3 cm.)
Painted in 1983.

Estimate
$120,000-180,000

Provenance
Metro Pictures, New York
Private Collection, Ohio
Acquired from the above by the present
owner

Exhibited
Munich, Sprth Magers, UNEASY ANGEL
/ IMAGINE LOS ANGELES, September 14 -
November 3, 2007
New York, Mitchell-Innes & Nash, Jack
Goldstein, May 29 - July 31, 2008
Newport Beach, Orange County Museum
of Art; New York, The Jewish Museum,
Jack Goldstein x 10,000, June 24, 2012 -
September 29, 2013

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01_NY_TCA_DAY_NOV16_FO1_Ray_50-51_v3.indd 1 25/10/16 16:43
127. Charles Ray b. 1953
Exhibited
Malm, Rooseum-Center for Contemporary Art; London,
Institute of Contemporary Art; Kunsthalle Bern and
All My Clothes
Kunsthalle Zurich, Charles Ray, March - October 1994
Kodachrome photographs mounted on board
(another example exhibited & illustrated)
9 x 60 in. (22.9 x 152.4 cm.)
London, Saatchi Gallery, Young Americans: New
Executed in 1973, this work is number 2 from an edition
American Art in the Saatchi Collection, January -
of 12 plus 3 artists proofs.
May 1996, pp. 94-95 (another example exhibited &
illustrated)
Estimate
New York, Whitney Museum of American Art; Los
$150,000-200,000
Angeles, Museum of Contemporary Art; Chicago,
Provenance Museum of Contemporary Art, Charles Ray, June 1998
Donald Young Gallery, Seattle - September 1999, p. 70 (another example exhibited &
Paul Morris Gallery, New York illustrated)
Regen Projects, Los Angeles Los Angeles County Museum of Art; Washington D.C.,
Acquired from the above by the present owner in Corcoran Gallery of Art; Boston, Museum of Fine Arts,
December 1998 Jasper Johns to Jef Koons: Four Decades of Art from the
Broad Collection, October 2001 - October 2002, pp. 200-
201 (another example exhibited & illustrated)
New York, Whitney Museum of American Art, Evidence
of Impact: Art and Photography 1963-1978, July -
October 2004 (another example exhibited).
Minneapolis, Walker Art Center, The Last Picture Show
Using Photography, 1960-1982, October 12, 2003 -
January 11, 2004

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Literature
Klaus Kertess, Photography Transformed: the
Metropolitan Bank and Trust Collection, New York, 2002,
p. 173 ( illustrated)
Mary Abbe, The F-Stops Here, Star Tribune, October
10, 2003
Bernard Cooper, Too Much Info, Los Angeles Times,
April 2004,
Christopher Knight, Photo synthesis, Los Angeles
Times, March 7, 2004
David Deitcher, The Last Picture Show, Artforum,
February 2004

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In the present lot, Charles Ray presents a flm entitled Fashions from 1996, featuring Rays
series of documentary Polaroid photographs friend and fellow artist Frances Stark modeling
starring himself as the subject, modeling the 100 diferent outfts. This focus on material
various outfts in his wardrobe. Aptly titled All objects is present throughout Rays oeuvre,
My Clothes, this work challenges the traditional demonstrating the artists interest in redefning
notion of the self-portrait. Despite being the the readymade concept in the postmodern era. In
centerpiece of each image, his own self is largely the present lot, his contemporary interpretation
indiscernible, making the subject more so of the readymade involves not only everyday
Rays attire than the artist himself. Each image objects, but also the carrier of these objects: his
is taken from a straight-on angle, his planted own body. By stripping himself of any identity,
feet meeting the exact point of the horizon line the artist showcases his preoccupation with the
where the white wall and gray foor intersect. efect of material objects on humans, presenting
From this vantage point, we are unable to Ray as a victim to his own wardrobe in images
decipher Rays facial expressions, making the which, in turn end up looking more like mug
only diferentiating factor from one image to shots than fne art portraits. Through this
the next the outft hes fashioning. The Los aesthetic decision, Ray makes the overarching
Angeles-based sculptor and conceptual artist has statement that we are all victims of a materialist
explored the subject of clothing in many of his culture, driven by consumerist desires and a lack
sculptural and media projects, including a later of individuality

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128. Tony Feher 1956-2016

Mountain Home
140 plastic fruit containers
20 x 26 1/4 x 30 5/8 in. (50.8 x 66.7 x 77.8 cm.)
Executed in 2004.

Estimate
$10,000-15,000

Provenance
DAmelio Terras Gallery, New York
Acquired from the above by the present owner

Exhibited
New York, DAmelio Terras Gallery, Tony Feher: The Wart on
the Bosom of Mother Nature, May 8 - July 2, 2004
Des Moines Art Center; Houston, Blafer Art Museum;
Lincoln, deCordova Sculpture Park and Museum; Bronx
Museum of the Arts; Akron Art Museum, Tony Feher, May 11,
2012 - August 17, 2014

Literature
Kelly Klaasmeyer, Beauty in a Bottle Cap, Houston Press,
November 7, 2012
Sebastian Smee, Fehers works hum with a sense of childs
play, The Boston Globe, May 25, 2013 (illustrated)
Ken Johnson, Throwaways Put Together Just So, The New
York Times, October 18, 2013, p. C26 (illustrated)
Gregory Williams, Tony Feher, Artforum, September, 2013,
p. 416 (illustrated)

01_NY_TCA_DAY_NOV16_FO1_Ray_50-51_v3.indd 4 25/10/16 16:43


129. Ugo Rondinone b. 1964

Moonrise. West. July


black, cast polyurethane
42 7/8 x 23 3/4 x 13 in. (108.9 x 60.3 x 33 cm.)
Executed in 2004, this work is number 1
from an edition of 3.

Estimate
$50,000-70,000

Provenance
Matthew Marks Gallery, New York
Acquired from the above by the present
owner in 2004

Exhibited
New York, Matthew Marks Gallery, Ugo
Rondinone: Long Gone Sole, September 18 -
October 30, 2004
Chicago, Museum of Contemporary Art,
Universal Experience: Art, Life and the
Tourists Eye, February 12 - July 2, 2005

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130. Alex Israel b. 1982

Untitled (Flat)
signed and dated Alex Israel 11 on the reverse; further
stamped MADE AT WARNER BROS STUDIOS BURBANK,
CA. on the reverse
acrylic on stucco, wood and aluminum frame
78 x 48 in. (198.1 x 121.9 cm.)
Executed in 2011.

Estimate
$180,000-220,000

Provenance
Private Collection
Peres Projects, Berlin
Private Collection

Los Angeles is one of the main subjects of my work.


Every day is an experience of all of this material,
which for me, is an art material. Every day, as I
move through this city, Im experimenting with it.
Its a constant process.

Alex Israel

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131. Carroll Dunham b. 1949

Green Flowers (5)


signed C. Dunham lower right; further dated April-June
2010 upper lef; signed, titled and dated C. Dunham 2010
Green Flowers (5) 2010 on the stretcher
mixed media on linen
66 x 51 in. (167.6 x 129.5 cm.)
Executed in 2010.

Estimate
$100,000-150,000

Provenance
Baldwin Gallery, Aspen
Gladstone Gallery, New York
Acquired from the above by the present owner

Drawing is the literal and fgurative lifeline of Despite lingering hints of the organic, wood-grain
Carroll Dunhams art. For him imagining drawing forms that characterized his early abstract work,
and drawing imagination cannot be separated, more recent pieces such as Green Flowers (5),
nor can formal deliberation and spontaneous 2010, tend toward a crisper, cleaner fguration,
invention. More emphatically than any of his depicting violent, intensely animated dystopias
generational peers Dunham renounced the bans in simple, childlike terms reminiscent of comic
imposed on the subjective acts of the hand the illustration. Here a simple tree has taken on
artists Pop and Minimal in the 1960s. With lyric perverse proportions with no clear perspective,
vengeance he has reinstated the erotics of art. leaves and fowers erupt from the boughs and
(Klaus Kurtess, Drawn into Consciousness, up from the ground with seemingly reckless
Carroll Dunham: Paintings, New York, 2003, p. abandon. The whole earth is an abstraction cut
26) Undercurrents of rude sexuality and unstable through with Dunhams particular fgurative
eroticism, masculinity, colorful violence, comic elements. Green Flowers (5) is a charged
aggression and conspicuously bad taste have abomination imbued with Twombly-esque
been fbers in the tapestry of Carroll Dunhams whorls, Warhol-like daisies and Naumans
artwork from the very beginning; since the early body impolitic. While teased with recognizable
1980s these elements have seeped from the imagery, the characters in Dunhams paintings
surfaces of paintings that marry the graphic occupy a unique territory somewhere between
qualities of Pop with the process-oriented form and formlessness. The current lot is a
approach of conceptualism and wash over both defning example of how the content in Dunhams
with the impolite lustfulness of painterly gesture paintings is replete with contradictions, defying
in a career-long confation of abstract and easy categorization, eschewing genres, and
fgurative styles. pushing the boundaries of taste.

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132. Bernd and Hilla Becher
1931-2007 and 1934-2015

Water Towers
each numbered consecutively on the reverse
gelatin silver prints, in 9 parts
i) - viii) 16 x 12 in. (40.6 x 30.5 cm.)
ix) 16 x 11 1/4 in. (40.6 x 28.6 cm.)
Executed in 1988.

Estimate
$80,000-120,000

Provenance
Barbara Gladstone Gallery, New York
Acquired from the above by the present
owner in March 2001

One just has to select the right objects and ft them into the picture
precisely, then they tell their own story all by themselves.

Bernd and Hilla Becher

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133. Thomas Demand b. 1964

Poll
signed, titled, numbered and dated Thomas
Demand 1/6 (print 2004) 2001 on the reverse
chromogenic print, Diasec mounted
71 x 102 1/4 in. (180.3 x 259.7 cm.)
Executed in 2001 and printed in 2004, this work
is number 1 from an edition of 6.
Other examples from this edition are held in
the permanent collection of The Museum of
Modern Art, New York and The Museum of
Contemporary Art Chicago.

Estimate
$80,000-120,000

Provenance
303 Gallery, New York
Acquired from the above by the present owner

Exhibited
San Antonio, ArtPace; Aspen Art Museum;
SITE Santa Fe; Amsterdam, De Appel, Thomas
Demand, September 6, 2001 - November 11,
2002

Literature
Dean Sobel & Lars Lerup, Thomas Demand,
Aspen Art Museum & DeAppel Amsterdam,
2001, p. 14 (illustrated)
Pepe Karmel, The Real Simulations of Thomas
Demand, Art in America, June-July 2005

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Property from the Estate of Pentti Kouri

134. Mary Corse b. 1945

Untitled (Beveled Edge Series)


signed and dated Mary Corse 2004 on the reverse
glass microspheres and acrylic on canvas
84 x 84 in. (213.4 x 213.4 cm.)
Executed in 2004.

Estimate
$20,000-30,000

Provenance
ACE Gallery, Los Angeles

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135. Mona Hatoum b. 1952

Slicer
varnished steel and thermoformed plastic
41 x 46 x 37 in. (104.1 x 116.8 x 93.9 cm.)
Executed in 1999, this work is number 2 from an
edition of 3.
The other 2 examples from this edition are in the
permanent collection of the National Galleries of
Scotland, Edinburgh and the Fundacion Rosn Arte
Contemporneo, Padre Sarmiento, Spain.

Estimate
$80,000-120,000

Provenance
White Cube, London
Acquired from the above by the present owner in
April 2000

Exhibited
London, White Cube, Mona Hatoum, Grater Divide,
May 24 22 June 22, 2002 (another example
exhibited)

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136. John McCracken b. 1934

Chiefain
signed, titled and dated CHIEFTAIN 1992 J. McCracken on
the underside
lacquer, resin, fberglass and plywood
96 1/8 x 29 7/8 x 17 in. (244.2 x 75.8 x 43.3 cm.)
Executed in 1992.

Estimate
$250,000-350,000

Provenance
Xavier Hufens, Brussels
Private Collection, Europe

I wanted to make something as simple as possible and have it still retain or have being
an interest and so forth you know, not dumb but smart, so to speak, or with being

John McCracken

Within the circle of West Coast Minimalists, Painted in fery red, the present lot is a beautiful
John McCracken developed a singular object- example of McCrackens free-standing forms,
based aesthetic. Throughout his prolifc practice, entitled Chiefain. In its lustrous qualities, it
McCracken has erected works that uniquely recalls the California car culture from which the
occupy the realms of both painting and sculpture. artist drew his inspiration for the surface of these
While he began his career as a painter, in the objects. On the foor, it stands out like a sleek red
1960s, he began making sculptures, ranging from Cadillac on a winding road. In this sense, the pillar
his signature planks to freestanding geometric evokes a sense of familiarity, yet in its reduction
forms. These objects, mostly made of fberglass to simple geometric and monochromatic
and ofen painted with a glossy lacquer, lean three-dimensionality, it invites a variety of
against walls and stand freely on gallery foors, interpretations in its universality. Depending on
interacting with the spaces they occupy, with both the angle from which it is viewed, the sculptures
the foor and wall simultaneously. As the artist shades of red vary across the refective surface,
himself says, these sculptures exist between two allowing the viewer to see themselves in its
worlds, the foor representing the physical world polygonic sides. In both surface and shape,
of standing objects, trees, car, buildings, human Chiefain recalls the same qualities of Donald
bodiesand the wall representing the world Judds geometric constructed objects, yet in the
of the imagination, illusionist painting space, way that it stands on its own, like just another
[and] human mental space. (John McCracken, human fgure occupying a room, McCrackens
quoted in Thomas Kellein, Interview with John sculpture seems even more democratic. At once
McCracken. August 1995, exh. cat. Kunsthalle minimalist and complex, Chiefain is a paradigm in
Basel, 1995, pp. 21-39, p. 32). McCracken McCrackens oeuvre of sensual, lustrous objects.
always considered the scale of his viewer when
building his sculptures, always making them, as
he describes, big enough to be in a space with
humans but not to be shocking or not to be
too bloated (John McCracken, quoted in Judith
Olch Richards, Oral history interview with John
McCracken, April 19 and August 4, 2010, online).

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137. Chris Burden 1946-2015

Hospital Ship
metal bicycle frame, stainless steel wire, metal and
miniatures
33 x 28 x 10 1/2 in. (83.8 x 71.1 x 26.7 cm)
Executed in 1992.

Estimate
$50,000-70,000

Provenance
London Projects, London
Phillips de Pury & Company, New York, November 12,
2004, lot 177
Acquired at the above sale by the present owner

Exhibited
Barcelona, Centre dArt Santa Mnica, Chris Burden,
October 1995 - January 1996, p. 48 (illustrated)

Throughout the later part of the 20th-century Burdens collection of found miniature toys, motor
and up until his untimely death last spring, Chris parts, and scientifc paraphernalia, inviting the
Burden transcended the limits of contemporary very act of moving around. From the suspension
performance art and sculptural practices. His hangs a metal bicycle frame attached to steel
primary concern was the same across both wires; within the frames crevices, there are
disciplines: it was the activity of the viewer that I small cylinders, deeper inside which are staged
considered artto see sculpture you have to move dioramas of miniature fgures occupying their own
around it, and I was trying to boil it down to the architectural worlds. These components make
core. I thought, If the core is forcing people to up the ship, which hangs as if foating. The very
move, then maybe that is where the art is. (Chris act of looking inside each of the objects staged
Burden, quoted in interview with Jarrett Earnest, spaces, highlights the smallness of human life in
Applying Pressure, November 5th, 2013, online) a big world, the existentialism of postmodern art
realized in sculptural form. Of Burdens practice,
Widely known for his shocking body work Howard Singerman says, if most postmodern
performances of the early part of the 70s and works are scaled to the size of familiar art
intricately designed sculptures in the 80s objects, precisely in order to pass more easily,
and 90s, Chris Burden continually sought Burdens projects are outsized; they are too big
viewer engagement thematically, by exploring or too small, and they are always difcult. (Chris
the human condition, and aesthetically, by Burden: A Twenty-Year Survey, exh. cat., Orange
challenging the notion of what constituted art in County Museum of Art, Newport Beach, 1988, p.
a postmodern world. The present lot, Hospital 25) Hospital Ships miniature components make it
Ship from 1992, beckons close inspection in its an exceptional example of Burdens most difcult
intricacy, structure, and subject matter. In its works, meant not to pass easily, but instead
sheer complexity, the viewer is confronted with to pose questions and challenge the aesthetic
a suspended object composed of materials from confnes of what art is and can be.

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Property from the Estate of Pentti Kouri

138. James Turrell b. 1943

Boulle Boola from Autonomous structures Please note that this work is a
Conceived in 1989, this work consists of a complete conceptualization for James Turrells
grey book containing a schematic of the piece,
work Boulle Boola. In the purchase of
photos of the scale model, notes to be informed
in a construction book as the piece is made, a this work, one purchases the rights to
certifcate of authenticity signed by the artist and construct the space designed by Turrell,
transfer of ownership documents. in conjunction with the artist.

Estimate
$100,000-150,000

Provenance
Barbara Gladstone Gallery, New York

Exhibited
Los Angeles, ACE Gallery, James Turrell, January -
April 25, 1993 (model exhibited)
Los Angeles County Museum of Art; Jerusalem,
The Israel Museum; Canberra, National Gallery of
Australia, James Turrell: A Retrospective, May 26,
2013 - April 6, 2015, p. 229 (Los Angeles), no. 27, p.
74 (Canberra) (model exhibited and illustrated)

Literature
Craig Adcock, James Turrell: The Art of Light and
Space, Berkely and Los Angeles, 1990, no. 95, p. 141
(model illustrated)

James Turrells prolifc career can be largely both a concept and a key physical element
thought of as a series of artistic ventures entitled Autonomous structures, made
using light and space. To classify Turrell between 1989 and 2010. Each of these
as a conceptual artist does not take into structures were designed as architectural
account his many accomplishments as a true spaces to house chambers of light, or as
sculptor, an architect and a scientist. Afer Turrell describes containers for the light.
studying perceptual psychology at Pomona (James Turrell, quoted in James Turrell: A
College, graduating in 1965, Turrell began Retrospective, exh. cat., National Gallery
experimenting with lights efects and how of Australia, Canberra, 2014, p. 73) Like
to transform the defnition of art to include many of the works in Turrells oeuvre,
light not just as a subject, but as a medium the Autonomous structures were grand
in its own right. As Turrell explains, light is conceptualizations; the work itself is the
no more unusual to usethan to use stone, idea, the schematic and the construction
clay, steel or paintI was interested in using of a model. Turrells models for such
light as materialnot light in glass, scrim, or structures, cast in plaster, have been
plexiglass, but light in the space itself and the exhibited in various shows of the artists
qualities of spaceThere is a rich tradition work over the past thirty years, illustrating
in painting of work about light, but it is not the plan for the immersive experience made
lightit is the record of seeing. My material is possible in the structure once realized.
light, and it is responsive to your seeingit is As Turrell has continually espoused, it is
non-vicarious. (James Turrell, quoted in Craig the viewers ultimate changed perception
Adcock, The Art of Light and Space, Berkeley of light and of space within the life-size
and Los Angeles, 1990, p. 114) construction that is the fnished product.

Such is the case in the present lot, Boulle The conception of Boulle Boola belongs
Boola, conceived in 1989. This work belongs to to the Autonomous structures which house
one of Turrells series which involved light as Ganzfelds, rather than Skyspaces, so named

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afer the perceptual phenomenon that Turrell
studied at Pomona. The efect of a Ganzfeld
is sensory deprivation, where viewers are
meant to experience a total visual feld,
in which sources of light are completely
blocked of by the structure and contained as
cavernous felds within its confnes. Each of
these models were named afer people and
ideas who have inspired Turrell, the present
work named afer the 18th century French
architect tienne-Louis Boulle. Boulles
plan for a monument shaped like a sphere,
surrounded by trees, was never built, thus
striking a resonate chord with Turrells
unrealized conceptions. The schematic plan
for this work indicates the construction of
a spherical structure in which the viewer
enters up a staircase, closes the door, and is
completely surrounded by a Ganzfeld. In this
way, Boulle Boola is a paradigm for Turrells
experiments with light, conceived with the
viewers perception in mind. In the realization
of Boulle Boola in life-size form, one will
be completely enveloped in a sensory
phenomenon, resulting in an unparalleled
experience of light, color and space.
Images of the cast plaster model, 1989

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Warhol.
Haring.
Bourgeois.

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139. Andy Warhol 1928-1987

Repent and Sin No More!


stamped by the Estate of Andy Warhol and The Andy Warhol
Foundation for the Visual Arts, Inc., New York and numbered
twice PA10.163 on the overlap
synthetic polymer paint and silkscreen ink on canvas
20 x 16 in. (50.8 x 40.6 cm.)
Executed circa 1985-1986.

Estimate
$60,000-80,000

Provenance
The Estate of Andy Warhol, New York
The Andy Warhol Foundation for the Visual Arts Inc.,
New York
Private Collection, Los Angeles
Phillips de Pury & Company, London, October 13, 2011, lot 141
Acquired at the above sale by the present owner

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140. Andy Warhol 1928-1987

Volkswagen Bug (Green)


stamped twice by the Estate of Andy Warhol, once
by The Andy Warhol Foundation for the Visual Arts,
Inc., New York, initialed VF and numbered twice
PA69.031 along the overlap
synthetic polymer paint and silkscreen ink on canvas
16 x 20 in. (40.6 x 50.8 cm.)
Executed in 1977.

Estimate
$120,000-180,000

Provenance
The Estate of Andy Warhol, New York
The Andy Warhol Foundation for the Visual Arts, Inc.,
New York
Acquired from the above by the present owner

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141. Andy Warhol 1928-1987

Electric Chairs
each signed and dated Andy Warhol 71 on the reverse;
further stamped with Bruno Birschoferger copyright stamp
on the reverse
the complete portfolio of 10 color screenprints on paper
each 35 1/2 x 48 in. (90.2 x 121.9 cm.)
Executed in 1971, this work is artists proof 21 from an
edition of 250 plus 50 artists proofs, published by Bruno
Bischoferger, Zurich.

Estimate
$180,000-220,000

Provenance
Bruno Bischoferger, Zurich
Private Collection
Phillips de Pury & Company, New York, November 12, 2004,
lot 283
Acquired at the above sale by the present owner

Exhibited
Paris, Muse dArt Moderne de la Ville de Paris, Warhol
Unlimited, October 2, 2015 - February 7, 2016, cat. no. 242,
pp. 170-171 (another example exhibited and illustrated)
Melbourne, National Gallery of Victoria; Pittsburgh, The
Andy Warhol Museum, Andy Warhol | Ai Weiwei, December
11, 2015 - September 11, 2016, p. 149 (another example
exhibited and one print illustrated)

Literature
Frayda Feldman and Jrg Schellmann, Andy Warhol Prints: A
Catalogue Raisonn 1962-1987, Milan, 2003, no. 11.74-11.83,
pp. 77-78 (illustrated)

Youd be surprised how many people want to hang an electric chair on their
living-room wall. Specially if the background color matches the drapes.

Andy Warhol

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03_NY_TCA_DAY_NOV16_FO2-FO3_Warhol-Rauschenberg_74-75_v5.indd 1 25/10/16 16:44
03_NY_TCA_DAY_NOV16_FO2-FO3_Warhol-Rauschenberg_74-75_v5.indd 2 25/10/16 16:44
03_NY_TCA_DAY_NOV16_FO2-FO3_Warhol-Rauschenberg_74-75_v5.indd 3 25/10/16 16:44
O 142. Robert Rauschenberg 1925-2008

Deepend (Scenario)
signed and dated RAUSCHENBERG 2K+6 lower center
edge; each panel respectively numbered 206.001 1 of 2
and 206.001 2 of 2 on the reverse
inkjet pigment transfer on polylaminate, in 2 parts
85 1/2 x 120 1/2 in. (217.2 x 306.1 cm.)
Executed in 2006.

Estimate
$300,000-500,000

Provenance
PaceWildenstein, New York
Private Collection

Exhibited
New York, PaceWildenstein, Robert Rauschenberg:
Scenarios and the Ancient Incident, October 27 -
November 25, 2006, no. 6 (illustrated)
New York, L&M Arts, Paintings & Drawings, July 7 -
September 9, 2008

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03_NY_TCA_DAY_NOV16_FO2-FO3_Warhol-Rauschenberg_74-75_v5.indd 1 25/10/16 16:45
03_NY_TCA_DAY_NOV16_FO2-FO3_Warhol-Rauschenberg_74-75_v5.indd 2 25/10/16 16:45
03_NY_TCA_DAY_NOV16_FO2-FO3_Warhol-Rauschenberg_74-75_v5.indd 3 25/10/16 16:45
Robert Rauschenbergs Deepend (Scenario) Taylor. As a print maker, Rauschenberg was the
premiered at PaceWildenstein in the 2006 frst artist to document the technique of transfer
exhibition Robert Rauschenberg: Scenarios and printmaking in 1958, when he recognized that
the Ancient Incident. His Scenarios cull imagery when newspaper was soaked in solvent the image
from the American environment and have been would transfer onto collages and painting.
aptly described as massive super multilayered
paintings that tell stories and cry out about This early pioneering technique led Rauschenberg
American life; they are panoramas that have an in 1992 to utilize his Iris printer to make digital
epic quality. Rauschenbergs artistic interest high-resolution prints of his photographs and
spans across every type of medium, working by the use of dye transfer process, he produced
in and conjoining photography, printmaking, large scale works on paper, or as seen in the
papermaking, and performance. Most revealingly present lot, Rauschenbergs Scenarios appear
of his later interest in the fatness of composition, painterly in technique, like a collage of imagery
he spent an important period in his early career that is both fuid and discrete. Collage for the
as a set designer for the groundbreaking artist was an early interest of his gleaned from
choreographers Merce Cunningham and Paul the cubist experiments of Braque and Picasso

FRONT STREET STUDIO, 1958.


Rauschenberg working on a
solvent transfer drawing in his
Front Street studio, New York,
1958, Photo by Jasper Johns

Photo Jasper Johns/


Licensed by VAGA,
New York, NY

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and the assemblages of the Dadaists. In 2005 the to create a sofly glowing composition; this is
New York Times describes Rauschenbergs studio suggested but by the illusion of yellow sunlight
work tables as covered with piles of enlarged that uniformly bathes each image within the
photographs -- material for his Scenarios, a larger whole. The power of these collaged
series of 7-by-10-foot canvases incorporating images arises from the seemingly haphazard
images of everything from street signs to play of shapes and motif that are ultimately
windswept dunes. Standing up until my legs give made unifed by an underlying, subtle afnity of
out, is how the artists describes the process forms and connotations. As an art critic recently
of meticulously arrangement the photographs. noted, In a fnished Rauschenberg, you see a
(Carol Vogel, The Robert Rauschenberg Reunion goat, a tire, a tennis ball, but more than that,
Tour, The New York Times, December 18, 2005) you see the insights that brought them together.
Deepend (Scenario), 2006 presents us with a Each component keeps its integrity within a
myriad of clashing images, wheels on a highway composition in which everything contributes
truck and airplane, an idle, locked up bicycle, to a profound efect of overall beauty. Indeed,
water rushing, a boat moored to a dock, a few artists of his era so unabashedly strove
neoclassical sculpture of marble nymphs, and the for beauty, even majesty: The logic of his
fawning Palm trees branches with acai berries. work, beginning with cast-ofs and fotsam,
Each image, strategically placed, emphasizes demanded it. It was the dare he put to himself
a precise movement or condition of arrested in everything he made. (Dan Chiasson, Robert
movement: wheels spinning, water fowing, Rauschenbergs Endless Combinations, The
Palm leaves wavering in the wind, They are New York Times, June 30, 2015)
visually unifed not only by their common shapes
and intimations of motion but also by the way
each image has been processed and assembled

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143. Jean-Michel Basquiat 1960-1988

Untitled (Mother/Father)
oilstick on paper
23 1/2 x 18 in. (59.7 x 45.7 cm.)
Executed in 1981, this work is registered under
inventory number 3596 in the Annina Nosei
Gallery Archive, Fales Library and Special
Collections, New York University, New York.

Estimate
$100,000-150,000

Provenance
Annina Nosei Gallery, New York
Acquired from the above by the present owner

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Keith Haring: Calf Hide Paintings of the 1980s

The present two lots are beautiful examples of up above. (Timothy Greenfeld-Sanders, An
Keith Harings genius and dexterity as an artist. Afernoon with Keith, The Keith Haring Show,
The early 1980s are the most sought afer years exh. cat., Fondazione Triennale di Milano, 2005,
of Keith Harings tragically short and intense p. 111) Completely covering the walls, the two
career. Starting at an early age when his father installed an exhibition of a variety of material
made him sketches of characters from comic and objects. These two particular works,
strips through his grafti days in the New York executed on calf hides, were installed one
subway, Haring invented his own alphabet of directly on the wall (Lot 144), and the other
contemporary artistic language. Under the on the door to Fun Gallerys ofce (Lot 145).
infuence of Andy Warhol and contemporary to Employing his trademark style and graphic line,
Jean-Michel Basquiat, Haring believed that art Haring adorned and imbued these hides with
was a product of the individual and the ultimate his frenetic energy and iconography. Taking his
expression of individuality. He chose the public almost tribal line directly to this very ancient
realm for his art out of curiosity and an embrace support of hide, Haring brought the ancient, the
of his temperament as well as his generosity. mythic, the Dionysian into the mania of 1980s
Enjoying success at a very young age, his New York.
philosophy was an idea of universal art strongly
infuenced by the aesthetics of decoration and Harings art has always been so powerful
eighties post-modernism. because it has an ability to embody so many
meanings and to be relevant for so many
The early 1980s were a heady time in New people. Grounded in art historical tradition from
York, and particularly within the specifc artistic Legr and Dubufet to Egyptian and aboriginal
milieu with which Haring ran. By 1983, Haring hieroglyphs and petroglyphs, Harings art also
had had his frst exhibition, his coming out of encapsulated the immediacy and directness of
sorts within the New York art world, at Tony the man himself and the times in which he came
Shafrazi Gallery the year prior, and his exhibition of age. One need not have any artistic schooling
in February of 1983 at Fun Gallery with LA II to realize that Haring exemplifed that singularly
would frmly establish his place among the unifying trait of all artists, to share something
pantheon of the scene. Fun Gallery was the with the rest of humanity. Melding high and low,
epicenter of this new scene. Opening nights destroying barriers between public and private,
spilled into the streets, as the grafti kids tried the elite strata of the art world and the grittiness
to fgure out how their art could move from of his East Village locale, Haring and works such
the walls of the city to the walls of the gallery. as these two Untitled paintings serve now as
From the beginning, Keith Haring was one to particular talismans from an age gone by, but
watch. He was respected below ground and forever relevant.

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144. Keith Haring 1958-1990

Untitled
signed and dated K. Haring JAN. 26 1983
on the reverse
Sumi ink and acrylic on found hide
38 x 43 1/2 in. (96.5 x 110.5 cm.)
Executed in 1983.

Estimate
$200,000-300,000

Provenance
Private Collection, New York (acquired
directly from the artist)
Acquired from the above by the present
owner in 1989

Exhibited
New York, Fun Gallery, Keith Haring,
February 3 - 27, 1983

Keith Haring Fun Gallery, New York, 1983, Installation view, artwork
2016 The Keith Haring Foundation

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145. Keith Haring 1958-1990

Untitled
signed and dated K.Haring JAN. 28 1983
on the reverse
Sumi ink and acrylic on found hide
34 1/2 x 30 1/4 in. (87.6 x 76.8 cm.)
Executed in 1983.

Estimate
$150,000-200,000

Provenance
Private Collection, New York (acquired
directly from the artist)
Acquired from the above by the present
owner in 1989

Exhibited
New York, Fun Gallery, Keith Haring,
February 3 - 27, 1983

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146. Keith Haring 1958-1990

Untitled
signed, numbered and dated 5/25 K. Haring 1989
on the underside
ink on terracotta vessel
9 x 28 3/4 x 28 3/4 in. (22.9 x 73 x 73 cm.)
Executed in 1989, this work is number 5 from an edition of
25 published by Monique Nellens and Gallery 121, Belgium.

Estimate
$20,000-30,000

Provenance
Art Issue Editions, Inc., New York
Acquired from the above by the present owner in 2012

Exhibited
New York, Malca Fine Art, In Your Face, June 17 - August 30,
1997, p. 33 (another example exhibited and illustrated)

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147. Andy Warhol 1928-1987

Still Life
graphite on wove paper
28 x 40 1/4 in. (71.1 x 102.2 cm.)
Executed in 1975, this work is stamped with the Estate
of Andy Warhol and the Andy Warhol Foundation
for the Visual Arts, Inc. stamps and numbered VF
61.020 on the reverse.

Estimate
$80,000-120,000

Provenance
The Estate of Andy Warhol, New York
The Andy Warhol Foundation for the Visual Arts, Inc.,
New York
Paul Kasmin Gallery, New York
Julien J. Studley, New York (acquired from the above
in 1998)
Thence by descent to the present owner

Exhibited
New York, Paul Kasmin Gallery, Andy Warhol Studio
Still Lifes, October 14 - November 14, 1998, p. 33
(illustrated)

NY_TCA_DAY_NOV16_62-113_v5.indd 85 21/10/16 11:56


148. Richard Pettibone b. 1938

Andy Warhol, Flowers, 1964


signed, titled and dated Andy Warhol, Flowers, 1965.
Richard Pettibone 2011 on the overlap
acrylic and silkscreen ink on canvas, in artists frame
6 1/4 x 6 1/4 in. (15.9 x 15.9 cm.)
Executed in 2011.

Estimate
$20,000-30,000

Provenance
Leo Castelli Gallery, New York
Private Collection (acquired from the above)
Seoul Auction, Seoul, May 26, 2014, lot 44
Private Collection (acquired from the above sale)
Sothebys, New York, May 12, 2016, lot 182
Acquired at the above sale by the present owner

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149. Sam Francis 1923-1994

Bright Ring
signed and stamped Sam Francis on the reverse; further
numbered SFP66-8 several times on the overlap and
stretcher
acrylic on canvas
64 x 44 1/4 in. (162.6 x 112.4 cm.)
Painted in 1966.

This work is included in the Sam Francis: Catalogue Sam Franciss Bright Ring, 1966, represents the
Raisonn of Canvas and Panel Paintings, published by the two elements for which the American painter was
University of California Berkeley Press (UC Press: 2011)
most concerned with throughout his career: color
under the number SFF.451 and is also registered in the
archives of the Sam Francis Foundation with the number
and space. In his abstract compositions, Francis
SFP66-8 and SFP66-9. This information is subject to change made these elements not only tools for the creation
as scholarship continues by the Sam Francis Foundation. of his paintings, but rather the subject matter of
these works in their own right. This is particularly
Estimate
evident in the artists series of edge paintings, to
$100,000-150,000
which the present lot belongs. The purpose of the
Provenance edge paintings was to show the power of color with
Andr Emmerich Gallery, New York the overwhelming presence of contrasting white.
Private Collection, New York (acquired from the above In Bright Ring, the thin borders of the canvas are
in 1969)
rendered in rich ultramarine blue, fery oranges
Sothebys, New York, May 16, 1979, lot 350
Andr Emmerich Gallery, New York (acquired at the
and reds, and almost-black greens, which blend
above sale) into each other and enclose a bright white canvas,
Sam Francis, California (acquired via exchange with the almost entirely clean except for a few drips of paint.
above in 1983) In his portrait of the artist accompanying Franciss
Sam Francis Estate, California (acquired from the above
1993 retrospective, Pontus Hulten explains white
in 1994)
Galerie Proarta, Zurich (acquired from the above in 2000)
is here, it seems, playing the roles both of color and
Private Collection space in the sense of openness The central, ofen
Acquired from the above by the present owner in 2016 enormous, white surface is suspended between the
actual canvas surface and an undefned situation
Exhibited
in front or behind or rather oscillating between
Tokyo Central Bijutsukan Gallery; Osaka, Gutai Pinacotheca,
Sam Francis, May 10 - June 17, 1968 defnition and non-defnition. (Pontus Hulten,
New York, ACA Galleries, Looking West, September 19 - Sam Francis, Kunst- und Ausstellungshalle der
October 14, 1972, no. 16 (illustrated) Bundesrepublik Deutschland in Bonn, exh. cat.,
Paris, Pavillon des Arts, organized with the Idemitsu p. 28) While the white central space dominates
Museum of Arts; Humlebaek, Louisiana Museum of Modern
the composition, it lurks between foreground and
Art; Ogawa Art Foundation, Tokyo, Loeuvre de Sam Francis
dans les collections du Muse Idemitsu, September 18, 1986 background, drawing attention to the vibrant strips
- December 5, 1987 of color at its edges, and thus, blurring the confnes
Zurich, Galerie Proarta, Sam Francis: Bilder 1949 bis 1968, of the space it occupies. The white space exists
May 26 - July 23, 2004, pp. 46-47 (illustrated) almost as a beam of bright light, radiating from
the canvas; Franciss use of dark, saturated hues
Literature
Debra Burchett-Lere, ed., Sam Francis: Catalogue Raisonn seem to be a conscious decision for making the
of Canvas and Panel Paintings 1946-1994, Berkeley, 2011, white stand out even more starkly, creating a beam
cat. no. SFF.451, DVD I (illustrated) of light for the viewer to get lost in. When I paint,
I try to create the feeling of being in it, Francis
was quoted to have said (New Talent, Time, New
York, January 1956, p. 72). This is the essence of the
edge paintings, which not only explore the roles of
color and space, but highlight their sheer power to
transform the viewing experience.

The space at the center of these paintings is reserved for you.

Sam Francis

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150. Sol LeWitt 1928-2007

Irregular Curves
signed and dated Lewitt 01 lower right
gouache on paper
11 1/4 x 11 1/4 in. (28.6 x 28.6 cm.)
Executed in 2001.

Estimate
$6,000-8,000

Provenance
Private Collection, Los Angeles (gifed by the artist)
Acquired from the above by the present owner

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Exhibited
151. Willem de Kooning 1904-1997
Minneapolis, Walker Art Center de Kooning: Drawings,
Sculpture, March 10 - June 20, 1974
Untitled (Spoleto)
Cedar Falls, University of Northern Iowa Gallery of Art;
signed de Kooning lower right
Saint Louis Art Museum; Cincinnati, The Contemporary
ink on paper
Arts Center, de Kooning: 1969-78, October 21, 1978 -
26 x 18 7/8 in. (66 x 47.9 cm.)
April 22, 1979, no. 24 (illustrated)
Executed in 1969-1970.
Amsterdam, Stedelijk Museum, Willem de Kooning:
the North Atlantic Light, 1960-83, May 11 - October 30,
Estimate
1983, pl. 48, p. 74 (illustrated)
$40,000-60,000
New York, Mitchell-Innes & Nash, Willem de Kooning:
Provenance Drawings and Sculpture, October 31 - December 19,
Estate of the artist, New York 1998, pl. 28 (illustrated)
Matthew Marks Gallery, New York
Acquired from the above by the present owner

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152. Brice Marden b. 1938

Rock
signed and dated B. Marden 00 lower lef
Kremer Bister ink and Kremer White Shellac ink on hot-
press watercolor paper
11 1/4 x 6 1/4 in. (28.6 x 15.9 cm.)
Executed in 2000.

Estimate
$80,000-120,000

Provenance
Matthew Marks Gallery, New York
Acquired from the above by the present owner

Exhibited
New York, Mitchell-Innes & Nash, Works on Paper:
Territories, September 30 - November 30, 2011

Works on paper by Minimalist master Brice to Mardens workbooks, which he always


Marden ofer a unique look into the artists took on his travels, using them to record ideas
interests and inspirations throughout his career, and images for future reference. In this way,
distinct within his oeuvre of paintings. The Workbook 30 (6) is a true look into Mardens
following two lots are from two very diferent thought process and inner emotion, similar to a
points in Mardens practice, the frst from 1986 diary entry, and we can assume that it reveals a
and the second from 2000, yet both are similar in bit about Mardens reaction to the parts of the
their gestural lines and abstraction of form. world he bore witness to in this period of his
career. Horizontally oriented, Work Book 30 (6)
Work Book 30 (6), lot 153, bears resemblance to illustrates Mardens hand through uninterrupted
the artists St. Barts series of drawings done strokes of ink, thicker in some places and
between the years of 1985 and 1986, which hairline-thin in others. As Mario Codognato
were inspired by the artists growing interest described in his discussion of Mardens works on
in both Chinese calligraphy and also his natural paper from this year, the gestural characters in
surroundings. It was around this time that Marden his drawings from the 1980s are suspended in
visited Southeast Asia and became exposed to the balance between improvisation and control,
both of these sources of inspiration, hoping to (Brice Marden: Works on Paper 1964-2001, exh.
transform his quintessential style and move away cat., Istituto nazionale per la grafca, Calcografa,
from his monochromatic panels into a diferent Rome, 2002, exh. cat., p. 17) oscillating between
form of expression. The title of the work refers studies and fnished works.

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153. Brice Marden b. 1938

Work Book 30 (6)


signed and dated B. Marden 86 lower right
ink on paper
19 1/2 x 29 1/4 in. (49.5 x 74.3 cm.)
Executed in 1986.

Estimate
$200,000-300,000

Provenance
Matthew Marks Gallery, New York
Acquired from the above by the present owner

Both Work Book 30 (6) and Rock, lot 152, from Of the drawing medium, Marden has refected,
over a decade later, are unique to Mardens for me, drawings an intimate medium. Its
gestural works in that the line work in each of very direct, its very close. Theres less between
them is beautifully varied and subtly sparse. the artist and the art. There is real closeness,
In many of the artists colorful paintings of the direct contact. A painting is about refnement of
late 80s and 90s and other works on paper, image. And drawing isnt. I dont think drawing
Mardens lines cover the canvas or sheet, flling is less than painting The less you have between
up the entire picture plane, while still not moving you and what youre making the better. The
outside of its boundaries. In each of these best drawing instruments are the ones where
drawings, however, the picture planes are more your hand is. When the hand moves with the
thinly populated, allowing for an intimate look least resistance. In a way, a pencil is much less
at the strokes made with Mardens instrument. resistant than a brush (Brice Marden, quoted in
In its title, Rock directly exposes the artists an interview by Pat Steir, Brice Marden: Recent
interest in nature, yet in its abstract illustration, Drawings and Etchings, exh. cat., Matthew Marks
it showcases the creative liberties he takes Gallery, New York, 1991). The present two lots
in recording these subjects. With thicker ink demonstrate the artists appreciation for the
markings, Rock bears the same resemblance drawing medium, highlighting the exact closeness
and appreciation for calligraphic styles, almost 15 that the artist refers to in this statement.
years afer his earlier 1980s drawings.

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154. Ellsworth Kelly 1923-2015
Exhibited
Fort Worth Art Museum; Boston, Museum of Fine Arts;
Toronto, Art Gallery of Ontario; The Baltimore Museum of
Untitled
Art; San Francisco Museum of Modern Art; Kansas City,
inscribed and dated 1, 2, 3, 4 1960 60.81 on
The Nelson-Atkins Museum of Art, Ellsworth Kelly: Works
the reverse
on Paper, September 13, 1987 - December 31, 1988, no. 85
pencil on paper
(illustrated)
28 1/2 x 22 1/2 in. (72.4 x 57.2 cm.)
New York, Matthew Marks Gallery, Ellsworth Kelly: Drawings
Executed in 1960.
1960-1962, March 27 - May 15, 1999, no. 12 (illustrated)
Estimate
$40,000-60,000

Provenance
Matthew Marks Gallery, New York
Acquired from the above by the present owner

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155. Philip Guston 1913-1980

Untitled
signed and dated Philip Guston 68 lower center
charcoal on paper
17 7/8 x 22 7/8 in. (45.4 x 58.1 cm.)
framed 25 3/8 x 31 1/8 in. (64.5 x 79 cm)
Executed in 1968.

Estimate
$50,000-70,000

Provenance
McKee Gallery, New York
Private Collection (acquired from the above)
Christies, London, October 19, 2013, lot 276
Acquired at the above sale by the present owner

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156. Joseph Cornell 1903-1972

Untitled (Parrot Collage; Grand Hotel de la Pomme dOr)


signed Joseph Cornell on the reverse
box construction
18 7/8 x 10 5/8 x 3 1/4 in. (47.9 x 27 x 8.3 cm.)
Executed in 1954-1955.

Estimate
$150,000-200,000

Provenance
Castelli Feigen Corcoran, New York
L&M Arts, New York
Acquired from the above by the present owner

Exhibited
New York, The Museum of Modern Art, Joseph Cornell,
November 17, 1980 - January 20, 1981, no. 148, n.p.
(illustrated)

The fascinating life and work of American shif, unique in its truly simple composition. The
artist Joseph Cornell has garnered increased contour of a parrot is outlined with painted black
attention and critical acclaim since his death in paper, glued to a jigsaw of newspaper articles
1972. Living and working alongside New York written in French, advertisements for the Grand
post-war painters like de Kooning, Rothko and Hotel de la Pomme dOr, and a single stamp
Motherwell, Cornell developed a multi-faceted at the top right corner. Upon close inspection,
style that challenged notions of the readymade, there is an unusual abstraction to the birds
while recalling motifs and aesthetics from presence. The parrot is in actuality just an
avant-garde movements including Surrealism, outline, its single eye composed only of a drilled
Cubism and Abstract Expressionism. In the early hole in the wood support of the shadow box, and
1950s, Joseph Cornell began his Aviary boxes, its claws indicated by protruding nails from the
most of which were composed of drawings and box where they should be.
silhouetted objects shaped like birds and their
cages, enclosed by collaged shadow boxes with One cannot help but think that the motif of the
found paper goods. The shadow box became caged bird recalls in some way Cornells own
a symbol of the artists oeuvre long before he story; for most of his life, he lived in a small
began this series, a fascinating art historical house on Utopia Parkway in Queens, never
object, encapsulating all at once the French marrying or living on his own. Thought of as
Cubist past and the more painterly American a recluse, Cornell only ever read about the
future according to Deborah Solomon in her settings he referenced and created, such as
biography on the artist (Utopian Parkway: The this hotel in France. In the present lot, however,
Life and Work of Joseph Cornell, Boston, 1997, there is the possibility that perhaps this bird
p. 186). It was in the Aviaries, however, that this has escaped, the only remaining evidence of
object was transformed into a more abstract him being his outline. The resulting object is
idea, where previously ornate trimmings were thus open to interpretation from the viewer,
stripped down to just a simple wooden box, and evokes the nostalgic intimacy that many of
collaged only with found materials. Exhibited in Cornells shadow boxes possess. Beautiful and at
Cornells retrospective exhibition at the Museum once unsettling, Cornells Untitled parrot collage
of Modern Art in 1980 following his death, the stands out as a stunning example of his practice,
present lot, from 1954, represents this aesthetic a testament to the artists life and work.

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NY_TCA_DAY_NOV16_62-113_v5.indd 99 21/10/16 17:38
Important Works on Paper by Louise Bourgeois

To fully understand the personal nature of highlights the artists device of repetition,
Louise Bourgeoiss extensive practice, it is through which she continually turned to the same
important to study not only the artists famous inspiration and sources. While her sculptures
large-scale bronze and steel sculptures, but went largely unnoticed until the late 1970s, her
also her mastery of mediums beyond three- drawings were even more clandestine in nature,
dimensionality, specifcally in drawing. Each neither published nor exhibited until a full ten
executed between 1948 and 2002, the following years later. The reveal of such masterworks in
seven drawings showcase the range of motifs the 1980s and 1990s ofered an even deeper look
and techniques explored over the course of into the artists mind and practice than did her
Bourgeoiss long career, ofering a deep look sculptures. As the artist herself said, Everything
into the breadth of aesthetics and meanings is feeting, but your drawing will serve as a
that she continually revisited. They serve as a reminder; otherwise it is forgotten. (Louise
testament to the personal nature of her work, Bourgeois, quoted in Louise Bourgeois: Drawings
developed independently of contemporary & Observations, exh. cat., University Art Museum,
pressures and infuences of the time in which they Berkeley, 1995, p. 21)
were conceived. As Josef Helfenstein explained,
Bourgeoiss drawings perform a function Bourgeoiss early drawings from the 1940s and
related not to her art but to the artist herself 1950s were largely based on memories from her
and her purely private emotions. In this sense, childhood. Born in Paris to parents who restored
her drawings are always autonomous and form a Renaissance tapestries, she was fascinated by
discrete body of work that exists independently the surrounding draped fabrics adorned with
of her sculpture. (Josef Helfenstein, Louise plant and foral designs. These feather-like motifs
Bourgeois: Drawings & Observations, exh. cat., are evident in the Untitled works from 1948,
University Art Museum, Berkeley, 1995, p. 8) For 1949 and 1950, meditatively drawn in hatched
Bourgeois, the medium of drawing existed as a lines, varying in density, which in turn create the
distinct form of expression in its own right, and illusion of highlights and shadows. Lot 161 from
she continued exploring the medium up until her 1949 features a unique foral design, hanging
death in 2010. from an invisible support at the top of the page
with globular shapes extending from a central
While the works presented here recall imagery line. Another drawing from this same year, lot
found throughout the artists overall practice, 157, presents another abstract composition on a
each of these works stands alone as a fnished piece of notebook graph paper, showcasing what
piece and not as preparatory sketches or plans appears to be draped fabric, perhaps directly
for later sculptures. In this way, each drawing infuenced by the hanging tapestries the artist

NY_TCA_DAY_NOV16_62-113_v5.indd 100 21/10/16 12:01


remembered from her childhood home. Most the regularity of shapes, in contrast to her
likely drawn from memory, the fabrics folds earlier, feathery drawings. Also rendered in red
are convincing in their variation, demonstrating ink is a late career work from 2002, lot 162, one
Bourgeoiss mastery of the medium. This work, of the few fgurative examples from her body
alongside an even earlier work from 1947 on blue of work. This sheet illustrates childlike fgures
paper, was exhibited in one of the artists frst solo holding hands, their bodies drawn in dense red
shows of her drawings in 1988 at the Robert Miller with the exception of their faces, which are
Gallery in New York and Daniel Lelongs gallery in simplifed to cartoonish eyes and grins. Despite
Paris. Both works are unique for their surfaces; its representational qualities, the work bears
lot 160, resembling a sketch for one of her no resemblance to reality, perhaps relating to
famous personnages on blue paper is evidence an unconscious memory or dream.
of Bourgeoiss favorite color, one that appears
throughout her oeuvre. It is the color bluethat Together, these seven works showcase
is my colorand the color blue means you have Bourgeoiss singularity amongst her
lef the drabness of day-to-day reality to be contemporaries and illustrate both the
transported intoa world of freedom where you progression and consistency in her graphic
can say what you like and what you dont like, practice. In direct opposition to her sculpture,
(Louise Bourgeois, quoted in Louise Bourgeois: these drawings seem to have come directly
Drawings & Observations, exh. cat., University Art from the artists soul, ofering a unique look
Museum, Berkeley, 1995, p. 48) she once stated. into her inner thoughts and efortless talent. As
she herself said of the two practices, Sculpture
A later drawing from 1998, lot 163 features a needs so much physical involvement that
diferent motif: imperfect, concentric circles you can rid yourself of your demons through
in red ink. This work highlights Bourgeoiss sculpting. Drawing doesnt have that
interest in geometry, frst developed in early pretension. Drawing is just a little help.
adulthood while studying mathematics at the (Louise Bourgeois, quoted in Louise Bourgeois:
Sorbonne. Geometry is a safe thing that can Drawings & Observations, exh. cat., University
never go wrong, a guarantee, she once said. It Art Museum, Berkeley, 1995, p. 23)
ofers a reliable world, a reliable system, and an
unchanging frame of reference that will not betray
you. (Louise Bougeois, quoted in Marie-Laure
Bernadac, Louise Bourgeois, Paris, 1996, p. 39)
This later work falls in a unique place in the artists
oeuvre when she was particularly fascinated with

Louise Bourgeois drawing in her Chelsea home in 2000

NY_TCA_DAY_NOV16_62-113_v5.indd 101 21/10/16 12:01


157. Louise Bourgeois 1911-2010

Untitled
signed L. Bourgeois lower right
ink on graph paper
8 3/4 x 13 1/4 in. (22.2 x 33.7 cm.)
Executed in 1949.

Estimate
$30,000-40,000

Provenance
Galerie Lelong, Zurich
Peter Blum Gallery, New York
Acquired from the above by the present owner

Exhibited
New York, Robert Miller; Paris, Daniel Lelong, Louise
Bourgeois Drawings, January 1988, no. 88 (illustrated)
New York, Mitchell-Innes & Nash, Works on Paper:
Territories, September 30 - November 30, 2011
New York, Mitchell-Innes & Nash, Days Inn, September 4 -
October 10, 2014

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NY_TCA_DAY_NOV16_62-113_v5.indd 103 21/10/16 12:02
158. Louise Bourgeois 1911-2010

Untitled
signed Louise Bourgeois lower right
pencil and ink on paper
11 1/8 x 7 1/2 in. (28.3 x 19.1 cm.)
Executed in 1948.

Estimate
$30,000-40,000

Provenance
Sean Kelly Gallery, New York
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_62-113_v5.indd 104 21/10/16 12:02


159. Louise Bourgeois 1911-2010
Exhibited
Musee dArt Moderne de la Ville de Paris, Louise
Bourgeois, June 23 - October 8, 1995
Untitled
New York, Swiss Institute, Louise Bourgeois,
signed with the artists initials and dated LB 1950 lower
Meret Oppenheim, Ilse Weber: Drawings and
right
Works on Paper, May 28 - July 3, 1999
ink on paper
8 1/8 x 5 1/4 in. (20.6 x 13.3 cm.)
Executed in 1950.

Estimate
$30,000-40,000

Provenance
Sean Kelly Gallery, New York
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_62-113_v5.indd 105 21/10/16 12:02


160. Louise Bourgeois 1911-2010

Untitled
signed Louise Bourgeois lower right
pencil on blue paper
11 1/4 x 7 1/8 in. (28.6 x 18.1 cm.)
Executed in 1947.

Estimate
$30,000-40,000

Provenance
Sean Kelly Gallery, New York
Acquired from the above by the present owner

Exhibited
New York, Robert Miller; Paris, Daniel Lelong, Louise
Bourgeois Drawings, January 1988, no. 49 (illustrated)

NY_TCA_DAY_NOV16_62-113_v5.indd 106 21/10/16 12:03


161. Louise Bourgeois 1911-2010

Untitled
signed Louise Bourgeois lower right
ink on paper
10 1/2 x 8 1/4 in. (26.7 x 21 cm.)
Executed in 1949.

Estimate
$30,000-40,000

Provenance
Cheim & Read, New York
Acquired from the above by the present owner

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162. Louise Bourgeois 1911-2010

Untitled
signed with the artists initials LB lower lef
ink, gouache and pencil on paper
8 7/8 x 11 1/2 in. (22.5 x 29.2 cm.)
Executed in 2002.

Estimate
$30,000-40,000

Provenance
Cheim & Read, New York
Xavier Hufens, Brussels
Acquired from the above by the present owner

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163. Louise Bourgeois 1911-2010

Untitled
signed with artists initials LB lower right
ink on paper
9 x 11 3/4 in. (22.9 x 29.8 cm.)
Executed in 1998.

Estimate
$20,000-30,000

Provenance
Peter Blum Gallery, New York
Cheim & Read, New York
Private Collection, New York

Exhibited
New York, Peter Blum Gallery, Louise Bourgeois and
Yayoi Kusama, Works from 1942 to 2000, June 6 -
September 15, 2001

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164. Le Corbusier 1887-1965

Composition from the series Deux fgures au


tronc darbre jaune
signed and dated Le Corbusier 1937 lower right
ink and paper collaged on paper board
8 1/4 x 12 in. (21 x 30.5 cm.)
Executed in 1937, this work will be included in the
artists forthcoming catalogue raisonn of works
on paper.

Fondation Le Corbusier has confrmed the


authenticity of this work.

Estimate
$20,000-30,000

Provenance
Julien J. Studley, New York (acquired circa 1950s)
Thence by descent to the present owner

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165. Eva Hesse 1936-1970 I think art is a total thing. A total person
Untitled
giving a contribution. It is an essence, a soul,
gouache and watercolor on paper and thats what its about
4 3/4 x 4 3/4 in. (12.1 x 12.1 cm.)
Executed in 1963-1964.
Eva Hesse
Estimate
$35,000-45,000

Provenance
Robert Miller Gallery, New York
Margo Leavin Gallery, Los Angeles
Curt Marcus Gallery, New York
Private Collection, New York (acquired from the above
in 1999)

Exhibited
New York, Curt Marcus Gallery, Drawings from the
1960s: Jo Baer, Lee Bontecou, Eva Hesse and Agnes
Martin, April 30, 1999 - May, 29, 1999

NY_TCA_DAY_NOV16_62-113_v5.indd 111 21/10/16 12:03


Property of Mr. & Mrs. S. Taplin

166. Lynn Chadwick, R.A. 1914-2003

Maquette IV Elecktra
signed, numbered and dated Chadwick 69 582 3/4
on the back leg; further stamped with foundry mark
Valsuanni Cire Perdue
bronze with a dark brown and polished patina
31 x 9 x 8 in. (78.7 x 22.9 x 20.3 cm.)
Executed in 1969.

Estimate
$60,000-80,000

Provenance
Bo Boustedt, Sweden
Evelyn Aimes Fine Art, Miami
Acquired from the above by the present owner

Exhibited
Brussels, Galerie Withofs, October - November, 1969

Literature
Nico Koster & Paul Levine, Lynn Chadwick: The
Sculptor and His World, Leiden, 1988, p. 97 (another
example illustrated)
Dennis Farr & Eva Chadwick, Lynn Chadwick:
Sculptor, Oxford, 1990, p. 236, no. 582 (another
example illustrated)
Dennis Farr & Eva Chadwick, Lynn Chadwick Sculptor,
With a Complete Illustrated Catalogue 1947-2005,
Farnham, 2014, p. 267, no. 582 (another example
illustrated)

NY_TCA_DAY_NOV16_62-113_v5.indd 112 21/10/16 17:38


167. Jean Tinguely 1925-1991

Le Perforateur
welded iron, painted rubber, nuts, bolts, electric motor
(110V), wire and transformer
21 1/4 x 45 1/2 x 25 1/2 in. (54 x 115.6 x 64.8 cm.)
Executed in 1963.

Estimate
$60,000-80,000

Provenance
Minami Gallery, Tokyo
Teshigara Family Collection, Tokyo
Sogetsu Art Foundation, Tokyo
Christies, London, June 25, 2004, lot 128
Private Collection, New York (acquired at the above sale)

Exhibited
Tokyo, Minami Gallery, Hommage aux Bambous, March -
April 1963, no. 17 (illustrated)

Literature
Christina Bischoferger, Jean Tinguely: Catalogue
Raisonn, Sculptures et Reliefs, 1954-1968, vol. 1, Zurich,
1982, no. 291, p. 204 (illustrated)

NY_TCA_DAY_NOV16_62-113_v5.indd 113 21/10/16 17:38


168. Ossip Zadkine 1890-1967

Statue pour jardin


cast stone
24 x 55 x 28 in. (61 x 139.7 x 71.1 cm.)
Executed in 1943-1944.

Estimate
$80,000-120,000

Provenance
Carol Janeway, New York (acquired directly from the artist)
Acquired from above by the present owner

Literature
Quality & Direction from A Federated Avant-Garde,Art
News, New York, July 1-31, 1944, p. 18 (another variant
illustrated)
Sylvain Lecombre, Ossip Zadkine, Loeuvre sculpt, Paris,
1994, no. 378a, p. 413 (another variant illustrated)

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NY_TCA_DAY_NOV16_114-175_v5.indd 115 21/10/16 12:04
169. Sean Scully b. 1945

Untitled
signed and dated Sean Scully 4.26.84 lower right
pastel and charcoal on paper
23 1/4 x 30 1/8 in. (59.1 x 76.5 cm.)
Executed in 1984.

Estimate
$40,000-60,000

Provenance
Private Collection, London (acquired directly from the artist)
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_114-175_v5.indd 116 21/10/16 12:05


170. Sean Scully b. 1945

Landbar (12.12.09)
signed, titled and dated LANDBAR Sean Scully 12.20.09
lower right
watercolor and pencil on paper
16 1/8 x 22 1/4 in. (41 x 56.5 cm.)
Executed in 2009.

Estimate
$35,000-45,000

Provenance
Private Collection (acquired directly from the artist)
Phillips, London, February 13, 2015, lot 159
Acquired at the above sale by the present owner

NY_TCA_DAY_NOV16_114-175_v5.indd 117 21/10/16 12:05


The present two lots, sun act star law set
age stone hand cut bell time age now foot
din and ddddddddddddddddffffffff
fffff represent rare examples of Carl
Andres typed poetry which date from the
early 1950s to the mid 1970s. Known for his
minimalist sculptures, Andres compositional
typography builds with words in much the
way his sculptures construct space with
geometrical elements. Like sheet music,
the spacing of the black ink juxtaposed with
the stark white paper creates a visually
rhythmic composition. Andres poems
drop hints of literary structure and clues
of historical references yet ultimately are
abstract in content, eluding more to the
calculated structure of an opera or sonnet
and the soothing melodic visual nature of
their fnal composition. Hollis Frampton,
Andres childhood friend, is referenced in a
number of Andres poems, Frampton speaks
on Andres writing in 1969, commenting
that words have spatial and plastic
qualities along with their sonorous and
associative properties, this was a discovery
that exfoliated systematically in the space
of pages divided by the typewriter into a
uniform grid.(Develing, Enno, Carl Andre,
exh. cat., The Haags Gemeentemuseum,

Property from the Estate of Hollis Frampton

171. Carl Andre b. 1935

ddddddddddddddddfffffffffffff
signed with the artists signature and signedca carl andre
lower right; further inscribed ca on the reverse
typewriter carbon on paper
11 x 8 1/2 in. (27.9 x 21.6 cm.)
Executed in circa 1958-1963, this work will be included in the
upcoming publication: Carl Andre: The Complete Poems, A
Catalogue Raisonn .

Estimate
$20,000-30,000

Provenance
The artist
Private Collection
Thence by descent to the present owner

NY_TCA_DAY_NOV16_114-175_v5.indd 118 21/10/16 12:05


The Hague, The Netherlands, 1969). Rob
Weiner, director of the Chinati Foundation
refects that Andres poems dont always
incorporate complete sentences, phrases,
or even associative terms, but use words
sequentially. (Rob Weiner, On Carl
Andres Poems)

Andre recalls the original oral nature of


poetry and the development of language
in printed form, allowing verbal language
to be transposed by hand, typewriter and
ultimately computer. Andre explains, for
me, poetry has largely been a matter of
writing and of reading and of printing
and not a matter of singingif poetry
can be described as language mapped
on an extraneous art and formerly it was
language mapped on music, I think now
that it is language mapped on some aspect
of visual arts. Words, according to Andre,
have palpable tactile qualities that we
feel when we speak them, when we write
them, or when we hear them, and that is
the real subject of my poetry.(Carl Andre,
On Literature and Consecutive Matters,
unpublished manuscript of conversation
with Hollis Frampton, December 8, 1962)

Property from the Estate of Hollis Frampton

172. Carl Andre b. 1935

sun act star law set age stone hand cut bell time age now
foot din
dated SEPT 64 lower right; further signed with artists
initials, signed and dated ca carl andre 1964 on the reverse
typewriter carbon on paper
11 x 8 1/2 in. (27.9 x 21.6 cm.)
Executed in 1964, this work will be included in the upcoming
publication: Carl Andre: The Complete Poems, A Catalogue
Raisonn .

Estimate
$20,000-30,000

Provenance
The artist
Private Collection
Thence by descent to the present owner

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NY_TCA_DAY_NOV16_114-175_v5.indd 120 21/10/16 12:16
173. Mel Bochner b. 1940

Blah, Blah, Blah


signed and dated BOCHNER, 2012 lower
right of each sheet
monoprint with collage, engraving
and embossment on joined hand-dyed
Twinrocker handmade paper, diptych
each 96 x 72 in. (243.8 x 182.9 cm.)
overall 96 x 144 in. (243.8 x 365.8 cm.)
Executed in 2012, this work was published
by Two Palms Press, New York.

Estimate
$100,000-150,000

Provenance
Quint Gallery, San Diego
Acquired from the above by the
present owner

NY_TCA_DAY_NOV16_114-175_v5.indd 121 21/10/16 12:16


174. Donald Judd 1928-1994

Untitled (89-31 SFA)


stamped JUDD 89-31 21R S.F.A. 4-89 on the reverse
horizontal woodblock in clear sugar pine
16 x 20 3/4 x 2 in. (40.6 x 52.7 x 5.1 cm)
Executed in 1989.

Estimate
$25,000-35,000

Provenance
The artist
Paula Cooper Gallery, New York
Barbara Krakow Gallery, Boston
Private Collection

Exhibited
Boston, Barbara Krakow Gallery, Donald Judd, May 30 -
July 8, 1992

NY_TCA_DAY_NOV16_114-175_v5.indd 122 21/10/16 12:16


175. John Chamberlain 1927-2011
Literature
Adrian Kohn, A Look at John Chamberlains Lacquer
Paintings, in Its All in the Fit: The Work of John
Miracles
Chamberlain, Marfa, 2009, p. 105 (illustrated)
signed and dated Chamberlain 64 on a label afxed to
the reverse
auto lacquer and metal fake on Formica
12 x 12 in. (30.5 x 30.5 cm.) If you add a slight layer [of lacquer] here,
Executed in 1964. youve got something to see into. But thats a
physical thing, its not that youre creating two
Estimate
$30,000-40,000
or three inches of illusionary space alongside
Like putting a little liquid on the table, you dont
Provenance change the surface, its just a case of one thing
Donald Judd, New York (acquired directly from the artist) over another and its the same surfaceWhat
The Judd Foundation, New York
youre looking into is really just the paintthe
Christies, New York, May 10, 2006, lot 139
Acquired at the above sale by the present owner
two or three layers of lacquer, thats all.
-Donald Judd on Chamberlains lacquer
paintings, 1971

NY_TCA_DAY_NOV16_114-175_v5.indd 123 21/10/16 12:16


Property of Mr. & Mrs. S. Taplin

176. Frank Stella b. 1936

Wake Island Rail


signed and dated F. Stella 77 on the overlap; further
signed and dated F. Stella 77 on the reverse
acrylic, paper collage, silkscreen and glitter on paper
60 1/8 x 84 1/4 in. (152.7 x 214 cm.)
Executed in 1977.

Estimate
$80,000-120,000

Provenance
Leo Castelli Gallery, New York
Private Collection
Evelyn Aimes Fine Art, Miami
Acquired from the above by the present owner

Exhibited
New York, Whitney Museum of American Art, Art at Work:
Recent Art from Corporate Collections, March - April 1978
Philadelphia, Institute of Contemporary Art, University of
Pennsylvania, Drawings, The Pluralist Decade, October -
November 1989

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NY_TCA_DAY_NOV16_114-175_v5.indd 125 21/10/16 17:40
177. Frank Stella b. 1936

Conway
signed with the artists initials and dated F.S. 66
lower right
graphite, ink and watercolor on paper
17 x 22 in. (43.2 x 55.9 cm)
Executed in 1966.

Estimate
$18,000-22,000

Provenance
The Isaacs Gallery, Toronto
David Mirvish Gallery, Toronto
Private Collection, Toronto (acquired from the
above in 1966)
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_114-175_v5.indd 126 21/10/16 12:17


178. Allan DArcangelo 1930-1998 I am flled now with so many new thoughts,
Danger
ideas, feelings or whatever you want to call
signed, titled and dated DArcangelo copyright 1967, theminternal combustion maybethat
NYC 1967 Danger
acrylic on canvas excites me in the work I am doing now.
38 x 41 3/4 in. (96.5 x 106 cm.)
Painted in 1967. Allan DArcangelo

Estimate
$25,000-35,000

Provenance
Private Collection, New York

NY_TCA_DAY_NOV16_114-175_v5.indd 127 21/10/16 12:17


179. Josef Albers 1888-1976

Afer Nightfall
signed with the artists monogram and dated A 48-53
lower right; further signed, titled and dated Afer
nightfall Albers 48-53 on the reverse
oil on masonite
17 7/8 x 26 7/8 in. (45.4 x 68.3 cm.)
Executed in 1948-1953, this work will be included in the
forthcoming Josef Albers Catalogue Raisonn being
prepared by The Anni and Josef Albers Foundation and
is registered at the Josef and Anni Albers Foundation as
JAAF 1948.1.25.

Estimate
$200,000-300,000

Provenance
Sidney Janis Gallery, New York
Dr. Frank Stanton, New York
McCrory Corporation, New York
Dr. Martin Silverstein, New Jersey
Soho West Galleries, West Hurley, New York
Acquired from the above by the present owner

Exhibited
Essex, Connecticut, Essex Art Association, Josef Albers,
June 12 - June 28, 1953
Hartford, Connecticut, Wadsworth Atheneum, Josef and
Anni Albers: Paintings, Tapestries and Woven Textiles,
July 8 - August 2, 1953, no. 34
New York, Sidney Janis Gallery, Acting Color: Albers,
January 31 - February 26, 1955

Created in late 1940s, early 1950s, the present lot In Afer Nightfall the paint is applied with a palette
Afer Nightfall represents a rare example from a knife, which can be seen in the careful, small
time period in which Josef Albers frst began carrying applications of pigment which creates further depth
out his investigation into the relationship between into a seemingly fat painting of clearly outlined
color and form. Comprised of deep reds and a stark shapes. These defnite forms have been commented
black, Afer Nightfall is defned by two towering on by sculptor Hans Arp, who has said that Albers
forms. Creating an unbalanced central composition, paintings, contain simple, great statements such as:
this design is the primary characteristic of Albers Im standing here. Im resting here. Im in the world
Variant and Adobe series. Architectural in nature, and on earth. Im in no hurry to move on. While Mark
Albers adobe-like facades are comprised of a Rothko sought transcendence, Albers looked for
horizontal rectangle with two vertical towers at the fulfllment here on earth. Mark Rothko approached
lef and right edges. This asymmetrical arrangement the ethereal through art. Josef Albers realized the
creates a fragile structure, further emphasized by spiritual in art. (Wieland Schmied, Fifeen Notes
the shifing, subtle tonalities of the red hues. As on Josef Albers, p. 9-10)
Albers comments, If one says red - the name of
color - and there are ffy people listening, it can be Afer Nightfall was originally purchased from
expected that there will be ffy reds in their minds. the Sidney Janis Gallery exhibition, Acting Color:
And one can be sure that all these reds will be very Albers, in 1955 by Dr. Frank Stanton, an important
diferent. (Josef Albers, Interaction of Color, New art collector and early avid supporter of Albers,
Haven: Yale University Press, 1963) Each of these Dr. Stanton he was the then president of CBS,
diferent reds can be seen in the present lot, the American broadcasting. Dr. Stantons interest in the
choice of colors used, as Albers explains as well as composition of color was echoed in his avid support
their order, is aimed at an interaction - infuencing in the 1950s for CBSs advance to color television
and changing each other forth and back. (Josef broadcasting. He also acquired an Albers Homage to
Albers On My Homage to the Square,Josef Albers, the Square: Silent Hall, 1961 which he donated to the
exh. cat., The Mayor Gallery, London, 1989, p. 31) Museum of Modern art, New York and still remains
in its permanent collection. Afer Nightfall is a rare
opportunity to acquire a stunning, early Josef Albers
with prestigious early provenance.

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NY_TCA_DAY_NOV16_114-175_v5.indd 129 21/10/16 12:18
180. Robert Mangold b. 1937

Attic Series VI (Study)


signed, titled and dated R. Mangold 1990 ATTIC SERIES VI Study
on the reverse
acrylic and graphite on canvas
49 3/4 x 46 5/8 in. (126.4 x 118.4 cm.)
Executed in 1990.

Estimate
$200,000-300,000

Provenance
Paula Cooper Gallery, New York
Private Collection
Christies, New York, November 13, 1998, lot 191
Julien J. Studley, New York (acquired at the above sale)
Thence by descent to the present owner

Exhibited
New York, Paula Cooper Gallery, New Paintings Studies for the Attic
Series, March 6 - April 6, 1991

A pioneer in minimalist painting practices of the Mangold also created smaller studies for
1960s, Robert Mangold defned an inimitable each, uniquely highlighting the artists hand in
visual language, one which established that no more intimate scale. The present lot, a study
one element, whether formal or thematic, would for the sixth and last painting in the series,
overshadow another. I think the key thing about exhibited in the artists 1991 show at Paula
my paintings is that Ive always had the desire to Cooper Gallery, is an exceptional example of
make the work be a unity, and I wanted nothing this group. Rendered in burnt orange acrylic
to be ahead of anything else, he once stated. I and pencil covering a trapezoidal canvas,
wanted the elements, which were the periphery a singular ellipse extends from the top lef
line and the internal line, the surface, color, etc., corner to the bottom right corner in perfect
to be equal. I wanted them to be so totally locked symmetry, while its encasement remains
together that they were inseparable. No one intriguingly of-balance. As they push against
area of the painting should be more important the edges of the feld of rust, all elements
than another even the idea. (Robert Mangold, seem particularly present and equal; color,
quoted in Lynne Cooke, Robert Mangold, Frames line and shape are at once unifed in their
of Reference, Robert Mangold: Attic Series I-VI, sheer power. In a review of the 1991 exhibition,
exh. cat., New York, Lisson Gallery, 1990) Roberta Smith summarizes, As is ofen the
case with Mr. Mangolds best work, an austere
Unlike his contemporaries like Robert Ryman, emphasis on nothing but the facts of painting
who relied on the monochromatic white square transcends itself into works of unexpected,
to defne his pictorial simplifcation, and Brice almost religious radiance. In addition, the
Marden, who was more metaphorical in his balance between line, canvas shape and
minimalist practice, Mangold focused on a surface texture seems so impeccably right
paintings basic, key elements as primary that it is hard to imagine these works an inch
playerscolor, line and shape. In the 1990s, he larger in any direction, much less twice as
began his Attic Series paintings, a paradigm for big. (Roberta Smith, Review/Art; A French
this idea that consists of six irregularly shaped Photographer Who Invades Lives And Records
canvases. This group of works was diferent from Them, The New York Times, March 29, 1991)
earlier series of the 70s and 80s in that he began Indeed, Attic Series VI (Study)s intimacy
them with the intention to complete a holistic allows for an even truer appreciation of the
group from start to fnish, compositions planned artists minimalist language, a discourse that
entirely ahead of time. Alongside the large-scale prevails today.
Attic paintings, which measure over eight feet tall,

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181. Peter Halley b. 1953

Yellow Prison with Underground Conduit


acrylic, Day-Glo and Roll-a-Tex on canvas
68 x 64 in. (172.7 x 162.6 cm.)
Executed in 1985.

Estimate
$100,000-150,000

Provenance
Sonnabend Gallery, New York
Postmasters Gallery, New York (acquired from the above)
Acquired from the above by the present owner in 1985

Exhibited
New York, Simon Watson, Re-Presenting the 80s, April 29 -
May 26, 1989 (illustrated, titled as Prison with Underground
Conduit)
Modern Art Museum of Fort Worth, 10 + 10: Contemporary
Soviet and American Painters, May 14, 1989 - November 21,
1990, no. 1, p. 111 (illustrated)
Pully, FAE Muse dArt Contemporain; Madrid, Museo
Nacional Centro de Arte Reina Sofa; Amsterdam, Stedelijk
Museum, Peter Halley: Oeuvres de 1982 1991, April 3 -
November 1, 1992, p. 45 (illustrated, titled as Prison with
Underground Conduit)

Literature
Anna Moszynska, Abstract Art, London, 1990, fg. 1, p. 6
(illustrated, cover)
Cory Reynolds, ed., Peter Halley, Maintain Speed, New
York, 2000, pp. 116, 197 (illustrated, titled as Prison with
Underground Conduit)
Tony Godfrey, Painting Today, New York, 2009, fg. 94, p. 77
(illustrated)

You dont need any special virtuosity to make my paintings. Roll-a-Tex and Day-Glo are
commercial techniques...I wanted to emphasize the physical signifers in my paintings.
When I wanted to show the ground plane, I put two canvases together. When I wanted to
make the geometry feel architectural, I put stucco on it. So the signifers in my paintings
are physical rather than illusionistic. Traditionally, artists are celebrated because of their
virtuosity. To me, virtuosity is a little anti-democratic.

Peter Halley

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182. Agnes Martin 1912-2004

Untitled
signed and dated A. Martin 77 lower right
watercolor and pencil on paper
image 9 x 9 in. (22.9 x 22.9 cm.)
sheet 12 x 12 in. (30.5 x 30.5 cm.)
Executed in 1977.

Estimate
$70,000-90,000

Provenance
Private Collection, Paris
Laura Carpenter Fine Art, Santa Fe
Yvon Lambert, Paris
Pace Gallery, New York
Nathalie Karg, Ltd., New York
Private Collection, New York (acquired in 1996)

The present lot, Untitled, 1977, was executed by


Agnes Martin afer an artistic hiatus of six years;
the end of this period was marked by her 1973
retrospective at the Philadelphia Institute of
Contemporary Art. Featuring gracefully rendered
stripes in pale, delicate washes and faint lines of
graphite, Untitled was created on a thin, semi-
translucent sheet of paper. The pigment appears
to foat of the surface of the tissue, capturing
Martins evolving interest in the mystical qualities
of Taoism and Zen Buddhism, and the surrounding
landscape of New Mexico with its earthen palette.
The linear felds of sof watercolor melt into an
ethereal composition, touching upon the viewers
exposed sensory perception. Untitled, 1977 is a
rare, pristine example of Martins fascination with
unrecognized natural beauty, writing in 1979, that
the measure of your life is the amount of beauty
and happiness of which you are aware. (Agnes
Martin, Prepared from a lecture at the University
of New Mexico, Santa Fe, 1979)

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183. Gerhard Richter b. 1932

PAPER FUJI (23 Oktober 1996)


signed and dated 23 Oktober 1996 Richter upper right
oil on paper
11 1/2 x 16 1/4 in. (29.2 x 41.3 cm.)
Executed in 1996.

Estimate
$120,000-180,000

Provenance
Galerie Fred Jahn, Munich
Thomas von Lintel Gallery, New York & Munich
Private Collection, New York (acquired in 1998)

Picturing things, taking a view, is what makes us human;


art is making sense and giving shape to that sense.

Gerhard Richter

Toyokuni II, (Utagawa Toyoshige) Clearing Weather, Enoshima, from the series
Eight views of famous places, woodblock print, 10 3/8 x 14 7/8 in. (26.4 x 38 cm.),
Private Collection / Bridgeman Images

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184. Gnther Frg 1952-2013

Untitled
signed and dated Frg 91 upper right
acrylic on wood, in artists frame
84 1/4 x 72 1/4 in. (214 x 183.5 cm.)
Painted in 1991, this work is recorded in the archives of
Gnther Frg as No. WVF.91.B.0146. We thank Mr. Michael
Nef from the Estate of Gunther Frg for the information he
has kindly provided on this work.

Estimate
$100,000-150,000

Provenance
Galerie Brbel Grsslin, Frankfurt
Private Collection, New Jersey

Literature
Gnther Frg, Musee dArt Moderne de la Villa de Paris,
July 2 - October 13, 1991, Parkett, 1991, p. 105 (illustrated)

In Untitled 1991, Gnther Frg draws upon the


legacy of abstract expressionism and minimalism
championed by his predecessors. Monumental
in size and striking in its vivid yellow and burnt
sienna hues, the present lot is a stunning example
of the artists signature aesthetic and truly
unique in its subtleties of color, line and texture.
The planarity of the color block composition is
interrupted by the presence of the artists hand,
which is visible in the wide, gestural brushstrokes
that traverse the wooden support. Untitled is also
exemplary of Frgs unique reliance on wood as a
preferred medium. The wood grain lends a subtle
texture to the canvas, while the artists frame
afords the work a literal weight and concrete
presence.

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185. Rebecca Warren b. 1965

Totem (b.)
hand-painted bronze
24 3/4 x 9 1/2 x 7 1/2 in. (62.9 x 24.1 x 19.1 cm.)
Executed in 2007, this work is from a
series of 5 plus 2 artists proofs.

Estimate
$40,000-60,000

Provenance
Maureen Paley, London
Private Collection, London (acquired
directly from the above)
Acquired from the above by the present
owner

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186. Erwin Wurm b. 1954

Untitled
blue jacket, jeans and sneakers
64 7/8 x 12 5/8 x 13 3/4 in. (165 x 32 x 35 cm.)
Executed in 2008, this work is
accompanied by a certifcate of
authenticity signed by the artist.

Estimate
$60,000-80,000

Provenance
Acquired directly from the artists studio
by the present owner

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187. Manolo Valds b. 1942

Reina Mariana
olive wood
64 x 47 x 29 in. (162.6 x 119.4 x 73.7 cm.)
Executed circa 1990s.

Estimate
$400,000-600,000

Provenance
Acquired directly from the artist by the present
owner in 1993

Executed in the 1990s, Reina Mariana is a unique


work comprised of expressive thick olive wood
boards, an exemplary rendition from Manolo
Valdss most prominent sculptural series. The
artist re-contextualizes Diego Velzquezs Queen
Mariana (1652-1653), a highly recognizable
portrait of the second wife of Felipe IV, a queen
who notoriously lived an unhappy life in the
Spanish court. Taking on the role of historian as he
compiles visual information from the past, Valds
has developed an identifying and daring language
achieved through the act of iconic reactivation.
The shadow of Velzquez came over Valds work
in an obsessive manner (A. E. Perez Sanchez,
Manolo Valds, Miracle Worker, in Manolo
Valds 1981-2006, Madrid, 2006, p. 43). The
artist begins with individual fragments of great
masters paintings and translates these details
into his own concrete vision.

Standing autonomously without a pedestal,


measuring over 5 feet tall, the stoic Reina
Mariana confronts viewers directly, commanding
onlookers to participate in a fully immersive
experience with the work. The robust form its
accumulating inlaying, fssures, engravings and
Diego Velazquez Mariana of Austria, Queen of Spain, circa 1652, deliberate appearance of disintegration set
oil on canvas, Museo del Prado, Madrid
against the smooth gleaming wooden surface
emphasizes the sensations of an invitingly organic
materiality. Though faceless, at odds with the
very concept of a portrait, and compressed into
a mere silhouette of the famed queen, Reina
Mariana reclaims its art historical signifcance
and yet possesses a life of its own. In doing so,
Valds virtually reconfgures canonical images to
set forth a bold new perspective on the history
of western art. This sculpture joins the body
of monumental works rendered in diferent
mediums exploring this favorited subject of the
artist, including a Reina Mariana (installed in
2000) in the rotunda of the Boulevard Salvador
Allende, Madrid.

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07_NY_TCA_DAY_NOV16_FO4_Valdes_142-143_v5.indd 2 25/10/16 16:43
07_NY_TCA_DAY_NOV16_FO4_Valdes_142-143_v5.indd 3 25/10/16 16:44
O 188. Lygia Pape 1927-2004

Untitled (Desenho I)
signed and dated Lygia Pape 1957 lower right
ink on hand-made Japanese paper
36 5/8 x 24 5/8 in. (93 x 62.5 cm.)
Executed in 1957.

Estimate
$150,000-250,000

Provenance
Estate of the artist
Galeria Graa Brando, Lisbon
Private Collection, Europe

My concern is always invention. I always want


to invent a new language thats diferent for
me and for others, too... I want to discover
new things. Because, to me, art is a way of
knowing the world.

Lygia Pape

Lygia Pape skillfully worked across a number of Created roughly in between her afliation with
artistic areas including, sculpture, printmaking, Grupo Frente and her embracing of Neoconcretist
dance and flm. She began her artistic career values, the present lot is a fascinating glimpse
under the tutelage of Ivan Serpa in the Rio de into the intellectual and aesthetic debates that
Janeiro-based Grupo Frente, a movement seeking permeated Rio de Janeiro and So Paulo in the
to explore and advance the visual language of mid to late 1950s. In Untitled (Desenho I) Pape
European Concretism and geometric abstraction evokes the simplicity of the square and the line,
in Brazil. As such, Papes artistic vision quietly turning it into a vibrant composition that quickly
rejects fguration in the traditional sense. She absorbs her audience. Her intricate drafsmanship
created works that would become forms in and compositional dexterity simulate movement
their own right, existing independently in space in a space that appears to transcend the paper
and interacting freely with their surroundings. surface. The dizzying efect of the thin, uniform
These interests eventually propelled her to lines is upended by the superimposed rectangles,
embrace Neoconcretism in the late 1950s, and whose visual acrobatics add a unique layer
she dedicated her career to fostering creative of dynamism to an otherwise geometric and
interaction between an artwork and its viewers. consistent landscape.

Neoconcretism, which counted on Hlio Oiticica, It was her fascination with form in all its
Lygia Clark, and Lygia Pape as some of its manifestations that led Pape to distance
most prominent voices, emerged as a formal herself from Grupo Frente in the late 1950s. In
movement in 1959 and it continued the search her eyes, art is not self-contained but rather
for artistic freedom that Grupo Frente had set to uncontainable, and its beauty largely results
achieve. The Neoconcretes, however, considered from its interaction with the world. Through
the artistic theories put forth by Concretism to her constant interrogation of the modernist art
be reductive and formulaic, believing that Grupo historical canon, Pape became known as an artist
Frentes view of art as purely self-referential failed whose wealth of ideas revolutionized Brazilian art
to account for the importance of artistic process in the 20th century.
and viewer involvement.

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O 189. Mira Schendel 1919-1988

Untitled
hole-punched paper
12 7/8 x 12 7/8 x 1 5/8 in. (33 x 33 x 4 cm.)
Executed in 1971.

Estimate
$150,000-250,000

Provenance
Estate of the artist
Galeria Andre Milan, So Paulo
Private Collection, Europe

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190. Mira Schendel 1919-1988

Untitled
signed and dated lower right 13-14 M. Schendel, 1964
watercolor and ink on paper
18 7/8 x 24 3/4 in. (48 x 63 cm.)
Executed in 1964.

Estimate
$25,000-35,000

Provenance
Estate of the artist
Galeria Andre Milan, So Paulo
Private Collection, Europe

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191. Mira Schendel 1919-1988

Untitled
oil on paper
18 7/8 x 25 7/8 in. (48 x 66 cm.)
Executed circa 1960s.

Estimate
$30,000-50,000

Provenance
Estate of the artist
Galeria Andre Milan, So Paulo
Private Collection, Europe

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192. Mira Schendel 1919-1988

Untitled (Frutas)
watercolor and ink on paper
21 1/4 x 29 1/8 in. (54 x 74 cm.)
Executed in 1964.

Estimate
$30,000-50,000

Provenance
Estate of the artist
Galeria Andre Milan, So Paulo
Private Collection, Europe

193194. No Lot

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NY_TCA_DAY_NOV16_114-175_v5.indd 151 21/10/16 17:43
Polke.
Kapoor.
Andersson.

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195. Isa Genzken b. 1948

Soziale Fassaden
signed and dated Isa Genzken 2002 on the reverse
mirrored metal and celluloid on panel
16 x 23 5/8 in. (40.6 x 60 cm)
Executed in 2002, this work is unique.

Estimate
$15,000-20,000

Provenance
Private Collection

Exhibited
Berlin, Werkstatt Galerie, Isa Genzken - Works from Private
Collections, November 22 - November 25, 2013

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196. Sigmar Polke 1941-2010 By making pictures, you learn the many
Untitled
diferent properties of photography.
signed S. Polke 75 on the reverse I use those properties diferently than,
oil on photosensitized canvas
16 x 19 1/2 in. (40.6 x 49.5 cm.) say, an advertising agency would, but
Painted in 1975. were both operating in the same reality.
Estimate A face painted by Picasso occupies the
$35,000-45,000
same reality as a portrait by Stieglitz.
Provenance
Galerie CCD, Dusseldorf Sigmar Polke
Private Collection, Washington, D.C.
Christies, New York, November 13, 1998, lot 149
Julien J. Studley, New York (acquired at the above sale)
Thence by descent to the present owner

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197. Mamma Andersson b. 1962

Stockpile
signed, titled and dated Stockpile 2004 Mamma
Andersson on the reverse
acrylic and oil on canvas
43 1/2 x 59 in. (110.5 x 149.9 cm.)
Painted in 2004.

Estimate
$120,000-180,000

Provenance
Stephen Friedman Gallery, London
Acquired from the above by the present owner in May 2005

Exhibited
London, Stephen Friedman Gallery, Mamma Andersson,
April 29 - May 28, 2005
Aspen Art Museum, Mamma Andersson, December 9, 2010
- February 6, 2011

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Property of Mr. & Mrs. S. Taplin

198. Allan Kaprow b. 1927

A three city happening by Allan Kaprow


New York, Boston, LA
lightbox
19 1/2 x 23 x 6 in. (49.5 x 58.4 x 15.2 cm.)
Executed in 1966.

Estimate
$5,000-7,000

Provenance
Bass Museum of Art Auction, Miami, circa 2006
Acquired at the above sale by the present owner

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199. lafur Elasson b. 1967

Eye See You


stainless steel, aluminum, color-efect flter
glass and bulb
90 1/2 x 47 1/4 x 43 1/4 in. (230 x 120 x 110 cm.)
Executed in 2006, this work is from an edition
of 30.
Another example from this edition is in
the permanent collection of the Thyssen-
Bornemisza Collection, Vienna.

Estimate
$35,000-45,000

Provenance
Acquired directly from the artist by
the present owner

Exhibited
Stockholm, Jarla Partilager, Summer Solstice,
May 13 - July 15, 2008, n.p. (another example
exhibited and illustrated)
Dusseldorf, Langen Foundation, Olafur
Eliasson: Works from the Boros Collection
1994 - 2015, April 18, 2015 - February 21,
2016, pp. 95, 122-123, 201 (another example
exhibited and illustrated)
Vienna, The Winter Palace of Prince Eugene
of Savoy, Olafur Eliasson: Baroque Baroque,
November 21, 2015 - March 6, 2016, pp.
219-227 (another example exhibited and
installation views illustrated)

Literature
Olafur Eliasson and Hans Ulrich-Obrist, The
Conversation Series, vol. 13, Cologne, 2008,
p. 145
Anna Engberg-Pedersen, ed., Studio Olafur
Eliasson, Cologne, 2012, pp. 16, 27, 41, 477,
484-485 (another example illustrated)

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200. Tavares Strachan b. 1979

You Belong Here


white neon
24 x 61 in. (61 x 154.9 cm)
Executed in 2012, this work is number 2 from an edition of 9.

Estimate
$20,000-30,000

Provenance
Anthony Meier Fine Art, San Francisco
Acquired from the above by the present owner

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201. Tracey Emin b. 1963

Keep Me Safe
neon
12 1/2 x 35 1/4 in. (31.8 x 89.5 cm.)
Executed in 2006, this work is number 2 from an edition
of 3 plus 2 artists proofs.

Estimate
$25,000-35,000

Provenance
White Cube, London
Acquired from the above by the present owner

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202. Anish Kapoor b. 1954

Untitled
signed and dated Anish Kapoor 2000 on the reverse
gouache on paper mounted to archival foam core
19 7/8 x 26 1/8 in. (50.5 x 66.4 cm.)
Executed in 2000.

Estimate
$20,000-30,000

Provenance
Galleria Continua, San Gimignano
Acquired from the above by the present owner in 2009

Exhibited
Beijing, Galleria Continua, One Colour, February 10 -
April 5, 2009

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203. Anish Kapoor b. 1954

Untitled
signed and dated Anish Kapoor 2000 on the reverse
gouache on paper mounted to archival foam core
19 7/8 x 26 1/8 in. (50.5 x 66.5 cm.)
Executed in 2000.

Estimate
$20,000-30,000

Provenance
Galleria Continua, San Gimignano
Acquired from the above by the present owner in 2009

Exhibited
Beijing, Galleria Continua, One Colour, February 10 -
April 5, 2009

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204. Lee Ufan b. 1936

With Winds
signed and dated L. UFAN 87 lower right; further signed,
titled and inscribed With Winds No. 870064 Lee ufan on
the reverse
oil on linen
17 3/4 x 20 5/8 in. (45 x 52.5 cm.)
Painted in 1987.

Estimate
$80,000-120,000

Provenance
Acquired directly from the artist by the present owner

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205. Lee Ufan b. 1936 The highest level of expression is not to
Untitled
create something from nothing, but rather
signed and dated L. Ufan 87 lower right to nudge something that already exists so
watercolor on paper
22 1/4 x 30 1/4 in. (56.5 x 76.8 cm) that the world shows up more vividly.
Executed in 1987.
Lee Ufan
Estimate
$15,000-20,000

Provenance
Private Collection (acquired circa 1993)
Sothebys, New York, March 7, 2014, lot 284
Acquired at the above sale by the present owner

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206. Jiro Takamatsu b. 1936

Shadow No. 1391


signed, numbered and dated JIRO TAKAMATSU 1997 No.
1391 on the reverse
acrylic on canvas
70 x 89 1/4 in. (177.8 x 226.7 cm.)
Painted in 1997.

Estimate
$100,000-150,000

Provenance
Acquired directly from the artist by the present owner

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207. Francis Als b. 1959

Study for the 2 Sisters


signed, titled and dated Study for the 2 sisters 2000
Francis Als lower right
graphite and colored pencil on tracing paper
8 1/2 x 11 in. (21.6 x 27.9 cm.)
Executed in 2000.

Estimate
$18,000-25,000

Provenance
Yvon Lambert Gallery, New York
Acquired from the above by the present owner

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208. Francis Als b. 1959

Study for el Barco Blanco


signed, titled and dated Study for (el barco blanco)
Francis Als 2000 lower lef
graphite, oil and adhesive tape on tracing paper
13 1/2 x 14 1/4 in. (34.3 x 36.2 cm.)
Executed in 2000.

Estimate
$18,000-25,000

Provenance
Yvon Lambert Gallery, New York
Acquired from the above by the present owner

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209. Arturo Herrera b. 1959

Felt #8
felt
overall 84 x 39 x 15 1/2 in. (213.4 x 99.1 x 39.4 cm.)
Executed in 2008.

Estimate
$30,000-40,000

Provenance
Sikkema Jenkins & Co., New York
Acquired from the above by the present owner

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210. Sui Jianguo b. 1956

Dying Slave
incised with the artists name and number T 4-6
SUI J G on the reverse
painted bronze
93 x 35 x 23 in. (236.2 x 88.9 x 58.4 cm.)
Executed in 1998, this work is number 4 from an
edition of 6.

Estimate
$50,000-70,000

Provenance
Private Collection
Sothebys, Hong Kong, April 2, 2012, lot 878
Acquired at the above sale by the present owner

Exhibited
Shanghai Biennale, November 22, 2002 - January
20, 2003, p. 1118 (another example exhibited
and illustrated, titled as Study on the Folding of
Clothes)
San Francisco, Asian Art Museum, Sui Jianguo:
The Sleep of Reason, January 14 - April 24, 2005,
pp. 13, 27, 84-87 (another example exhibited and
illustrated)

Literature
Britta Erickson, On the Edge: Contemporary
Chinese Artists Encounter the West, Cantor Arts
Center at Stanford University, 2005, fg. 103 and
104, pp. 100-101 (another example illustrated,
titled as Study on the Folding of Clothes)

NY_TCA_DAY_NOV16_114-175_v5.indd 171 21/10/16 14:14


211. Zhang Xiaogang b. 1958

Young Man
incised in Chinese with artists signature, date, number and
foundry mark 2013 3/3 PTX on the reverse
hand-painted bronze, on artists plinth
sculpture 58 1/2 x 32 x 28 in. (148.6 x 81.3 x 71.1 cm.)
plinth 28 1/2 x 36 x 36 in. (72.4 x 91.4 x 91.4 cm.)
overall 87 x 36 x 36 in. (221 x 91.4 x 91.4 cm.)
Executed in 2013, this work is number 3 from an edition of 3
plus 1 artists proof.

Estimate
$100,000-150,000

Provenance
Pace Gallery, New York
Acquired from the above by the present owner

Exhibited
New York, Pace Gallery, Zhang Xiaogang, March 29 -
April 27, 2013, pp. 14-15 (another example exhibited and
illustrated)

Literature
Jonathan Fineberg and Gary G. Xu, Zhang Xiaogang:
Disquieting Memories, London, 2015, p. 303 (another
example illustrated)

Derived from ancestral photographs, Zhang painted character from his Bloodline paintings in
Xiaogangs contemporary Chinese portraits in 2005. This work, entitled Young Man showcases
painting and sculpture have been widely exhibited a gaunt-faced boy on the brink of adulthood,
and celebrated over the course of the last decade. rendered in beautifully varied hues of gray with
In his paintings from the 1990s and early 2000s, cool purple and blue undertones. Cast in perfect
aptly titled the Bloodline series, infuences symmetry, the bronze is covered in active
from surrealist and symbolist movements are brushwork that gives a painterly efect entirely
distinctly evident. The subjects are rendered not diferent from his refned painting practice, a
realistically, but like hazy caricatures against casting style infuenced by Tang glazes and
unspecifed backgrounds. Afer the Bloodline the polychrome sculptures of ancient Egypt.
works, Xiaogang began experimenting with An emotionless gaze evokes the uncertainty
sculpture, fnishing his frst series of painted of adolescence, while the mans torso stands
bronze works in 2013, cast in small editions. rooted on an artist-made plinth with a stature
These sculptures were based of of the same of feigned confdence. An example from the
prototypical characters from his paintings in edition exhibited at the artists second show at
three-dimensional form, recognizable in their Pace Gallery in 2013, Young Man is a paradigm
features. For example, in the present lot, the for Xiaogangs unique ability to capture a single
subjects thin-rimmed rectangular glasses recall moment in a long human life, rendered in the
the same accessory which adorns a repeatedly simplest of shapes and compositions.

NY_TCA_DAY_NOV16_114-175_v5.indd 172 21/10/16 14:13


NY_TCA_DAY_NOV16_114-175_v5.indd 173 21/10/16 14:14
212. Ana Mendieta 1948-1985

Untitled (from the Silueta Series)


stamp signed by the artist Ana Mendieta and Raquel
Mendieta administrator of the estate; further inscribed
with the artists initials and consecutively numbered AM
GP: 0876 ED. # 7/10 image #1 on the reverse
9 color chromogenic prints
i) iv), vii) image 13 1/4 x 19 7/8 in. (33.7 x 50.5 cm.)
i) iv), vii) sheet 16 x 20 in. (40.6 x 50.8 cm.)
v) vi) viii) ix) image 19 7/8 x 13 1/4 in. (50.5 x 33.7 cm.)
v) vi) viii) ix) sheet 20 x 16 in. (50.8 x 40.6 cm.)
Executed in July 1976, this work is number 7 from an edition
of 10 Estate prints.

Estimate
$35,000-45,000

Provenance
Galerie Lelong, New York
Private Collection, New York (acquired in 2001)

Literature
Beatrice Merz, Ana Mendieta. She Got Love, Museo dArte
Contemporanea, Castello di Rivoli, 2013, pp. 126-129
(variants from the series illustrated)

NY_TCA_DAY_NOV16_114-175_v5.indd 174 21/10/16 14:14


Through my earth/body sculptures I become one with the earth ...
I become an extension of nature and nature becomes an extension of my body.

Ana Mendieta, 1988

NY_TCA_DAY_NOV16_114-175_v5.indd 175 21/10/16 14:15


213. Elad Lassry b. 1977

Laurel Canyon
chromogenic print in polished brass frame, in 4 parts
each 10 x 8 in. (25.4 x 20.3 cm.)
Executed in 2009, this work is number 2 from an edition of 3.

Estimate
$8,000-12,000

Provenance
David Kordansky Gallery, Los Angeles
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 176 21/10/16 14:16


214. Matthew Barney b. 1967

Cremaster 4: Field of the Ascending Faerie


(Diptych)
(ii) signed and dated Matthew B., 1994
on the reverse
chromogenic print, in artists self-
lubricating plastic frame, diptych
(i) 21 1/4 x 29 1/4 in. (54 x 74.3 cm.)
(ii) 25 1/4 x 21 3/8 in. (64.1 x 54.3 cm.)
Executed in 1994, this work is number 1
from an edition of 6 plus 1 artists proof.

Estimate
$20,000-30,000

Provenance
Barbara Gladstone Gallery, New York
Acquired from the above by the
present owner

Literature
Matthew Barney: The Cremaster Cycle,
exh. cat., The Solomon R. Guggenheim
Museum, New York, 2002, p. 64 (another
example illustrated)

NY_TCA_DAY_NOV16_176-235_v5.indd 177 21/10/16 14:16


Exhibited
215. Richard Prince b. 1949
New York, Whitney Museum of American Art;
Dsseldorf, Kunstverein; San Fransisco Museum of
Untitled (Pen)
Art and Rotterdam, Museum Boymans-van Beunigen,
signed and numbered R Prince 2/10 on the reverse
Richard Prince, May 1992-November 1993, p. 61
Ektacolor photograph
(another example illustrated)
image 15 5/8 x 23 3/8 in. (39.7 x 59.4 cm.)
Museum fr Gegenwartskunst Basel, Richard Prince,
sheet 20 x 24 in. (50.8 x 60.9 cm.)
Photographs, December 2001 - February 2002, p. 11
Executed in 1979, this work is number 2 from an edition
(illustrated)
of 10.

Literature
Estimate
Luc Sante, Richard Prince, New York, 2003, p. 100
$25,000-35,000
(illustrated)
Provenance
Leo Koenig Inc., New York
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 178 21/10/16 14:17


Exhibited
216. Thomas Demand b. 1964
Los Angeles, Museum of Contemporary Art, Public
Oferings, April July 2001, pp. 34-35 (another variant
Fabrik (Mit Namen)
exhibited and illustrated)
signed and dated Thomas Demand 2004 on the
Munich, Sammlung Goetz, Sculptural Sphere, March -
reverse
September, 2004, pp. 67, 74 (another variant exhibited
chromogenic print mounted on Diasec
and illustrated)
47 x 71 in. (119.4 x 180.3 cm.)
Kunsthaus Bregenz, Thomas Demand: Phototrophy,
Executed in 2004, this work is from an edition of 5.
September 17 - November 7, 2004, p. 105 (another
example exhibited and illustrated)
Estimate
$40,000-60,000
Literature
Thomas Demand, exh. cat., Kunstverein Freiburg,
Provenance
Freiburg in Mariebad, 1998, p. 39 (another variant
Max Protetch Gallery, New York
illustrated)
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 179 21/10/16 14:17


217. Gregory Crewdson b. 1962

Untitled, Summer (Summer Rain) from the series


Beneath the Roses
signed Gregory Crewdson on a label afxed to the
reverse of the mount
digital chromogenic print
57 x 88 in. (144.8 x 223.5 cm.)
Executed in 2004, this work is number 2 from an
edition of 6.

Estimate
$40,000-60,000

Provenance
Luhring Augustine, New York
Acquired from the above by the present owner

Exhibited
London, White Cube, Beneath the Roses, April 15 May
18, 2005 (another example exhibited)
Los Angeles, Gagosian Gallery, Beneath the Roses, May
21 June 25, 2005 (another example exhibited)
Kunstverein Hannover; Krefeld, Museum Haus Lange
and Museum Haus Esters; Fotomuseum Winterthur;
Landesgalerie Linz; Hague Museum of Photography,
Gregory Crewdson: 1985 - 2005, September 3, 2005 -
February 25, 2007, pl. 67 (another example exhibited
and illustrated)
Portland, Reed College, Douglas F. Cooley Memorial Art
Gallery, New Trajectories 2: Expansions, April 11 - June
11, 2006 (another example exhibited)

Literature
Gregory Crewdson and Russell Banks, Beneath the
Roses, New York, 2008, p. 15 (another example
illustrated)
Gregory Crewdson, Gregory Crewdson, New York, 2013,
pl. 11, p. 257 (another example illustrated)

NY_TCA_DAY_NOV16_176-235_v5.indd 180 21/10/16 14:17


NY_TCA_DAY_NOV16_176-235_v5.indd 181 21/10/16 14:17
218. Christopher Williams b. 1956
Exhibited
Braunschweig, Kunstverein, For Example: Dix-Huit
Leons sur la Socit Industrielle (Revision 1), May - July
Rina, Jabon De Lavar Lava, Limpia, Dura Mas 200
2005 (another example exhibited)
gr. Photography by the Douglas M. Parker Studio, Los
Kunsthalle Zrich, Christopher Williams 97,5 Mhz*,
Angeles, California November 8, 2004
cat. no. 10, August - October 2007 (another example
signed, titled, dated and numbered Rina 06 8/10 c.
exhibited)
williams on the reverse
Amsterdam, Galerie Paul Andriesse, Marijn van Kreij -
dye transfer color print
The Passenger, 2011 (another example exhibited)
image 13 7/8 x 17 1/2 in. (35.4 x 44.4 cm.)
sheet 15 7/8 x 19 7/8 in. (40.4 x 50.7 cm.)
Literature
Executed in 2005, this work is an number 8 from an
Gean Moreno, Display Time: Arts Recess Within
edition of 10 plus 4 artists proofs.
Advertising, Art US, May - June, 2006, p. 32
(illustrated)
Estimate
Mark Godfrey, Cameras, Corn, Christopher Williams,
$25,000-35,000
and the Cold War, October Magazine, Fall 2008, Vol.
126, p. 131 (illustrated)
Provenance
David Zwirner, New York
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 182 21/10/16 14:17


219. Christopher Williams b. 1956
Provenance
David Zwirner, New York
Acquired from the above by the present owner
Punta Hicacos, Varadero, Cuba, 2000
signed, titled, numbered and dated Punta Hicacos,
Exhibited
Varadero, Cuba, 2000 10/10 c. williams on the reverse
New York, The Museum of Modern Art, Christopher
chromogenic print
Williams: The Production Line of Happiness, July 27
image 10 3/8 x 13 3/8 in. (26.5 x 34 cm.)
November 2, 2014, p. 174, no. 17 (another example
sheet 11 x 14 in. (28 x 35.6 cm.)
exhibited & illustrated)
Executed in 2000, this work is number 10 from an
edition of 10 plus 4 artists proofs.
Another example from this edition is in the collection of
the Art Institute of Chicago.

Estimate
$20,000-30,000

NY_TCA_DAY_NOV16_176-235_v5.indd 183 21/10/16 14:17


NY_TCA_DAY_NOV16_176-235_v5.indd 184 21/10/16 17:45
220. Walead Beshty b. 1976

Los Angeles fuji crystal archive type c


color photographic paper
89 3/4 x 50 in. (228 x 127 cm.)
Executed in 2008.

Estimate
$12,000-18,000

Provenance
Galerie Rodolphe Janssen, Brussels
Acquired from the above by the
present owner

221. Youssef Nabil b. 1972

Lonely Pasha, Cairo


signed, titled, numbered and dated
Youssef Nabil Cairo 1/3 2002 on the
reverse
hand colored gelatin silver print
image 46 7/8 x 31 1/8 in. (119.1 x 79.1 cm.)
sheet 49 7/8 x 34 1/4 in. (126.7 x 87 cm.)
Executed in 2002, this work is number
1 from an edition of 3.

Estimate
$15,000-20,000

Provenance
Yossi Milo Gallery, Inc., New York
Acquired from the above by the
present owner

Exhibited
New York, Yossi Milo Gallery, Youssef
Nabil, November 4 December 23,
2010 (another example exhibited)

NY_TCA_DAY_NOV16_176-235_v5.indd 185 21/10/16 17:45


222. Roni Horn b. 1955

Clownmirror #8
signed, titled, numbered and dated Roni Horn
CLOWNMIRROR (#8), 2001 ed. # 6/7 on a label afxed to
the reverse of the right print
cibachrome print, in 2 parts
each 29 1/2 x 29 1/2 in. (74.9 x 74.9 cm.)
Executed in 2001, this work is number 6 from an edition of 7.

Estimate
$12,000-18,000

Provenance
Private Collection (acquired directly from the artist)
Sothebys, London, June 29, 2010, lot 143
Acquired at the above sale by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 186 21/10/16 14:18


223. Roni Horn b. 1955

From Some Thames (Group A)


signed and numbered A 5/8 Roni Horn on a label
afxed to the reverse of number 1
chromogenic print, in 4 parts
each 25 x 38 in. (63.5 x 96.5 cm.)
Executed in 1999, this work is number 5 from an
edition of 8.

Estimate
$18,000-22,000

Provenance
Private Collection (acquired directly from the artist)
Sothebys, London, June 29, 2010, lot 149
Acquired at the above sale by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 187 21/10/16 14:18


224. Barbara Kruger b. 1945

FACE IT (Yellow)
pigment print on Hahnemhle photo rag, in
artists frame
43 x 33 in. (109.2 x 83.8 cm.)
Executed in 2007, this work is number 10 from
an edition of 10.

Estimate
$40,000-60,000

Provenance
Yvon Lambert Gallery, Paris
Private Collection
Phillips, New York, November 14, 2014, lot 226
Acquired at the above sale by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 188 21/10/16 14:18


225. Jason Rhoades 1965-2006

Fuzzy Paddle/Turkey Beard


neon, Plexiglas, GTO cable, transformer and lingerie lace
17 1/4 x 47 x 4 in. (43.8 x 119.4 x 10.2 cm.)
Executed in 2003, this work is accompanied by a
Certifcate of Authenticity signed by the estate of
the artist.

Estimate
$15,000-20,000

Provenance
The Estate of Jason Rhoades
Hauser & Wirth, New York
Acquired from the above by the present owner in 2011

Exhibited
New York, David Zwirner, Jason Rhoades - MECCATUNA,
September 13 - October 25, 2003

NY_TCA_DAY_NOV16_176-235_v5.indd 189 21/10/16 14:18


226. Vik Muniz b. 1961
Exhibited
Sao Paulo, Galeria Fortes Vilaa, Trabalhos
Mondicos e Fotografas, August 18 - September
The White Rose (from the Monad Series)
13, 2003 (another example exhibited)
signed and dated Vik Muniz 2003 on a label
afxed to the reverse
Literature
cibachrome print mounted on aluminum
James Elkins, Moacir dos Anjos and Shelley Rice,
71 x 90 in. (180.3 x 228.6 cm.)
Obra Incompleta: Vik Muniz, Rio de Janeiro, 2004,
Executed in 2003, this work is number 4 from an
p. 288 (another example illustrated)
edition of 6 plus 4 artists proofs.
Lesley A. Martin, ed., Refex: A Vik Muniz Primer,
New York, 2005, p. 132 (another example
Estimate
illustrated)
$25,000-35,000
Pedro Corra Do Lago, ed., Vik Muniz: Obra
Completa 1987 - 2009, Rio de Janeiro, 2009, p. 501
Provenance
(another example illustrated)
Private Collection

NY_TCA_DAY_NOV16_176-235_v5.indd 190 21/10/16 17:46


227. Mickalene Thomas b. 1971

Hair Portrait 16
signed, titled, consecutively numbered and dated 1/4,
Top Lef, Hair Portrait #16, 2013, Rhinstones, acrylic on
wood panel, 48 x 40 in, 4 panels each (24 x 20 in), M.
Thomas on the reverse
rhinestone and acrylic on wood panel, in 4 parts
each 24 x 20 in. (61 x 50.8 cm.)
overall 48 x 40 in. (121.9 x 101.6 cm.)
Executed in 2013.

Estimate
$35,000-50,000

Provenance
Lehmann Maupin, New York
Private Collection

NY_TCA_DAY_NOV16_176-235_v5.indd 191 21/10/16 17:46


228. David Reed b. 1946

#573
signed, titled and dated DAVID REED 573 2007 on the
reverse
oil and alkyd on polyester
106 x 26 in. (269.2 x 66 cm.)
Executed in 2007.

Estimate
$25,000-35,000

Provenance
Max Protetch Gallery, New York
Private Collection, New Jersey

NY_TCA_DAY_NOV16_176-235_v5.indd 192 21/10/16 14:20


229. Jack Pierson b. 1960

Existentialism
found plastic, metal and wooden letters
overall 42 x 166 x 4 in. (106.7 x 421.6 x 10.2 cm.)
largest 42 x 32 1/2 x 4 in. (106.7 x 82.6 x 10.2 cm.)
Executed in 2000.

Estimate
$40,000-60,000

Provenance
Cheim & Read Gallery, New York
Acquired from the above by the present owner in 2005

NY_TCA_DAY_NOV16_176-235_v5.indd 193 21/10/16 14:20


230. James Siena b. 1958

Three Personages, Interpenetrating


incised with artists signature, title and date
three personages, interpenetrating 2007
James Siena on the reverse
enamel on aluminum
19 1/4 x 15 1/8 in. (48.9 x 38.4 cm.)
Executed in 2007.

Estimate
$10,000-15,000

Provenance
PaceWildenstein, New York
Acquired from the above by the present owner

Exhibited
New York, PaceWildenstein, James Siena,
March 28 - April 26, 2008

NY_TCA_DAY_NOV16_176-235_v5.indd 194 21/10/16 17:46


231. Fred Tomaselli b. 1956

Kaboom
signed, titled and dated Fred Tomaselli 1993
KABOOM on the reverse
hemp leaves, acrylic and resin on wood
47 1/2 x 47 1/2 in. (120.7 x 120.7 cm)
Executed in 1993.

Estimate
$60,000-80,000

Provenance
Jack Tilton Gallery, New York
Private Collection, Baltimore

Exhibited
New York, James Cohan Gallery, Fred Tomaselli,
Early Work or How I Became A Painter, February
5 - March 19, 2016

NY_TCA_DAY_NOV16_176-235_v5.indd 195 21/10/16 17:46


232. Sergej Jensen b. 1973

Untitled
signed, titled and dated Sergej
Jensen 2002 on the overlap
oil on jute
72 x 46 in. (182.9 x 116.8 cm.)
Executed in 2002.

Estimate
$18,000-25,000

Provenance
Greene Nafali Gallery, New York
Acquired from the above by the
present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 196 21/10/16 14:21


233. Mark Flood b. 1957

The General
signed, titled and dated twice Mark Flood 5-12-04 The
Generalon the overlap
acrylic on canvas
60 x 96 in. (152.4 x 243.8 cm.)
Executed in 2004.

Estimate
$30,000-40,000

Provenance
Acquired directly from the artist by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 197 21/10/16 14:21


234. Yoshitomo Nara b. 1959

Untitled
signed Nara lower lef and dated 97 lower right
ink and colored pencil on paper
11 x 8 1/4 in. (27.9 x 21 cm.)
Executed in 1997.

Estimate
$15,000-20,000

Provenance
Blum & Poe, Los Angeles
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 198 21/10/16 14:21


235. Wangechi Mutu b. 1972
Exhibited
Blafer Art Museum, University of Houston;
Southampton, Parrish Art Museum, Damaged
I Have Peg Leg Nightmares
Romanticism: A Mirror of Modern Emotion, September
signed and dated Wangechi Mutu 2003 lower right
13, 2008 - April 12, 2009
collage and watercolor on Mylar
43 x 30 in. (109.2 x 76.2 cm.)
Literature
Executed in 2003.
Douglas Singleton, ed., Wangechi Mutu, A Shady
Promise, Bologna, 2008, p. 89 (illustrated)
Estimate
Marie-Julie Chalu, Wangechi Mutu, Altrit mutante,
$50,000-70,000
Boum! Bang!, April 20, 2013 (illustrated, online)
Provenance
Susanne Vielmetter Los Angeles Projects, Los Angeles
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 199 21/10/16 14:21


236. Marianne Vitale b. 1973

Shingle Painting 1
signed and dated Marianne Vitale 2013 on the reverse
tar shingles and liquid nails on canvas
83 x 67 in. (210.8 x 170.2 cm.)
Executed in 2013.

Estimate
$8,000-12,000

Provenance
Zach Feuer Gallery, New York
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 200 21/10/16 17:46


237. Gavin Turk b. 1967

Trash
signed, titled, numbered and dated on the underside
with engraving TRASH 1/8 Gavin Turk 2007
painted bronze
16 1/2 x 20 x 18 1/2 inches (42 x 51 x 47 cm.)
Conceived in 2006 and cast in 2007, this work is number
1 from an edition of 8.

Estimate
$25,000-35,000

Provenance
Sean Kelly Gallery, New York
Acquired from the above by the present owner in 2007

NY_TCA_DAY_NOV16_176-235_v5.indd 201 21/10/16 17:49


238. Josh Smith b. 1976

Untitled (1)
oil on canvas
60 x 48 in. (152.4 x 121.9 cm.)
Painted in 2006.

Estimate
$10,000-15,000

Provenance
Luhring Augistine, New York
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 202 21/10/16 17:50


239. Matt Saunders b. 1975

Borneo Fold (Rose Hobart) #10, Version 1


chromogenic print on Kodak Endura
Premier matte paper
42 1/4 x 35 5/8 in. (107.3 x 90.5 cm.)
Executed in 2014.

Estimate
$15,000-20,000

Provenance
Marian Goodman Gallery, New York
Private Collection

NY_TCA_DAY_NOV16_176-235_v5.indd 203 21/10/16 17:49


240. Franz West 1947-2012

Two works: (i-ii) Privat-Lampe des Knstlers II Provenance


(i) incised with the producers name, artists name and date, Meta Memphis, Milan
and numbered Metamemphis Franz West 1989 - 455 - on The Future Project, New York
the bottom Acquired from the above by the present owner
(ii) incised with the producers name, artists name and date,
and numbered Metamemphis Franz West 1989 - 456 - on
the bottom
welded iron and electrical fttings
each 80 x 15 x 12 7/8 in. (203.2 x 38.1 x 32.7 cm.)
Executed in 1989, these works are from an open edition
published by Meta Memphis, Milan, beginning in 1989,
and are each accompanied by a Certifcate of Authenticity,
issued by Memphis. Each work is unique.

Estimate
$10,000-15,000

NY_TCA_DAY_NOV16_176-235_v5.indd 204 21/10/16 14:21


241. Norbert Schwontkowski b. 1949

Der Grne Teppich


signed and dated Schwontkowski 2006 on the reverse
oil on canvas
35 1/2 x 23 5/8 in. (90.2 x 60 cm.)
Painted in 2006.

Estimate
$10,000-15,000

Provenance
Mitchell-Innes & Nash, New York
Acquired from the above by the present owner

Exhibited
New York, Mitchell-Innes & Nash, We Make Any Size of
Mirror, September 21 - November 22, 2006
Boston, Ars Libri, The Cartin Collection @ Ars Libri,
September 2 - November 4, 2008

NY_TCA_DAY_NOV16_176-235_v5.indd 205 21/10/16 14:21


This Lot is Sold with No Reserve

242. Matteo Callegari b. 1979 Provenance


Ramiken Crucible, New York
Problem System Acquired from the above by the present owner
signed twice, titled and dated MATTEO
CALLEGARI PROBLEM SYSTEM 2013 Exhibited
Matteo Callegari on the overlap Milan, Galleria Federico Vavassori, Matteo Callegari:
gesso and oil on linen Today is No Yesterday, September 28 - October 26, 2013
74 x 56 in. (188 x 142.2 cm.)
Executed in 2013.

Estimate
$2,000-3,000

NY_TCA_DAY_NOV16_176-235_v5.indd 206 21/10/16 18:47


243. Cheyney Thompson b. 1975
Provenance
Andrew Kreps Gallery, New York
Phillips de Pury & Company, New York,
1998 (CT-0318)
March 8, 2012, lot 106
signed, titled and dated 1998 Cheyney Thompson
Acquired at the above sale by the
2004 on the overlap
present owner
acrylic on linen
32 x 46 in. (81.3 x 116.8 cm.)
Exhibited
Painted in 2004.
New York, Andrew Kreps Gallery,
Cheyney Thompson 1998, March 13 -
Estimate
April 10, 2004
$12,000-18,000

NY_TCA_DAY_NOV16_176-235_v5.indd 207 21/10/16 18:47


244. Eddie Peake b. 1981

Holding her Hand in the Air in the Shape of a Gun 9


signed, inscribed and dated Eddie Peake November
2012 ROME on the overlap
spray paint on canvas
78 3/4 x 78 3/4 in. (200 x 200 cm.)
Executed in 2012.

Estimate
$8,000-12,000

Provenance
Galleria Lorcan ONeill, Rome
Acquired from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 208 21/10/16 14:22


245. Michael Manning b. 1985

Two Works: (i) Fortunate Son (Sheryl Crow Pandora


Painting) (ii) Wide Open Spaces (Sheryl Crow Pandora
Painting)
each signed and dated Michael Manning 2014 on the
reverse
acrylic and digital print on canvas
each 72 x 48 in. (182.9 x 121.9 cm.)
Executed in 2014.

Estimate
$10,000-15,000

Provenance
Private Collection, New York

NY_TCA_DAY_NOV16_176-235_v5.indd 209 21/10/16 14:22


Provenance
246. Gerhard Richter b. 1932
Marian Goodman Gallery, New York
Acquired from the above by the present owner
Onkel Rudi (Uncle Rudi)
signed and numbered Richter VII/XXV on
Literature
the reverse
Hubertus Butin, ed., Gerhard Richter: Editions 1965
Cibachrome print, mounted to Alu-Dibond plate
- 2004 Catalogue Raisonn, Hatje Cantz Publishers,
34 1/4 x 19 5/8 in. (87 x 49.8 cm.)
Ostfldern, 2004, no. 111 (illustrated)
Executed in 2000, this work is number VII from
an edition of 80 plus XXV plus a trial print on
baryta paper. Published by Centro Per LArte
Contemporanea Luigi Pecci, Prato, Italy.

Estimate
$18,000-24,000

NY_TCA_DAY_NOV16_176-235_v5.indd 210 21/10/16 14:22


247. Jef Koons b. 1955

Dom Prignon Balloon Venus (Magenta)


impressed with the artists name and title Dom
Prignon balloon venus by Jef K oons on the suede
interior lining
lacquered polyurethane resin in two parts
19 1/4 x 14 1/8 x 19 3/4 in. (48.8 x 35.8 x 50.3 cm.)
Executed in 2013, this work is from an edition of 650 plus
40 artists proofs.

Estimate
$25,000-35,000

Provenance
Dom Prignon
Acquired directly from the above by the present owner

NY_TCA_DAY_NOV16_176-235_v5.indd 211 21/10/16 14:22


Guide for Prospective Buyers
Buying at Auction Pre-Auction Viewing
The following pages are designed to ofer you information on how to buy at auction Pre-auction viewings are open to the public and free of charge. Our specialists are
at Phillips. Our staf will be happy to assist you. available to give advice and condition reports at viewings or by appointment.

Conditions of Sale Electrical and Mechanical Lots


The Conditions of Sale and Authorship Warranty which appear later in this All lots with electrical and/or mechanical features are sold on the basis of their
catalogue govern the auction. Bidders are strongly encouraged to read them as decorative value only and should not be assumed to be operative. It is essential
they outline the legal relationship among Phillips, the seller and the buyer and that, prior to any intended use, the electrical system is verifed and approved by a
describe the terms upon which property is bought at auction. Please be advised qualifed electrician.
that Phillips generally acts as agent for the seller.
Symbol Key
Buyers Premium The following key explains the symbols you may see inside this catalogue.
Phillips charges the successful bidder a commission, or buyers premium, on the
hammer price of each lot sold. The buyers premium is payable by the buyer as part O Guaranteed Property
of the total purchase price at the following rates: 25% of the hammer price up to The seller of lots designated with the symbol O has been guaranteed a minimum
and including $200,000, 20% of the portion of the hammer price above $200,000 price fnanced solely by Phillips. Where the guarantee is provided by a third party
up to and including $3,000,000 and 12% of the portion of the hammer price above or jointly by us and a third party, the property will be denoted with the symbols O .
$3,000,000. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes
all or part of the risk that the lot will not be sold and will be remunerated accordingly.
1 Prior to Auction The compensation will be a fxed fee, a percentage of the hammer price or the
buyers premium or some combination of the foregoing. The third party may bid on
Catalogue Subscriptions the guaranteed lot during the auction. If the third party is the successful bidder, the
If you would like to purchase a catalogue for this auction or any other Phillips sale, remuneration may be netted against the fnal purchase price. If the lot is not sold, the
please contact us at +1 212 940 1240 or +44 20 7318 4010. third party may incur a loss. Where Phillips has guaranteed a minimum price on every
lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the
Pre-Sale Estimates guaranteed property but will state our fnancial interest at the front of the catalogue.
Pre-sale estimates are intended as a guide for prospective buyers. Any bid within
the high and low estimate range should, in our opinion, ofer a chance of success. Property in Which Phillips Has an Ownership Interest
However, many lots achieve prices below or above the pre-sale estimates. Where Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an
Estimate on Request appears, please contact the specialist department for economic interest in the lot equivalent to an ownership interest.
further information. It is advisable to contact us closer to the time of the auction as
estimates can be subject to revision. Pre-sale estimates do not include the buyers
premium or any applicable taxes.
Unless
No Reserve
indicated by a , all lots in this catalogue are ofered subject to a reserve.
A reserve is the confdential value established between Phillips and the seller and
Pre-Sale Estimates in Pounds Sterling and Euros below which a lot may not be sold. The reserve for each lot is generally set at a
Although the sale is conducted in US dollars, the pre-sale estimates in the percentage of the low estimate and will not exceed the low pre-sale estimate.
auction catalogues may also be printed in pounds sterling and/or euros. Since the
exchange rate is that at the time of catalogue production and not at the date of Endangered Species
auction, you should treat estimates in pounds sterling or euros as a guide only. Lots with this symbol have been identifed at the time of cataloguing as containing
endangered or other protected species of wildlife which may be subject to
Catalogue Entries restrictions regarding export or import and which may require permits for export
Phillips may print in the catalogue entry the history of ownership of a work of as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers
art, as well as the exhibition history of the property and references to the work and Paragraph 11 of the Conditions of Sale.
in art publications. While we are careful in the cataloguing process, provenance,
exhibition and literature references may not be exhaustive and in some cases we 2 Bidding in the Sale
may intentionally refrain from disclosing the identity of previous owners. Please
note that all dimensions of the property set forth in the catalogue entry are Bidding at Auction
approximate. Bids may be executed during the auction in person by paddle, by telephone, online
or prior to the sale in writing by absentee bid. Proof of identity in the form of
Condition of Lots government issued identifcation will be required, as will an original signature. We
Our catalogues include references to condition only in the descriptions of multiple may also require that you furnish us with a bank reference.
works (e.g., prints). Such references, though, do not amount to a full description of
condition. The absence of reference to the condition of a lot in the catalogue entry Bidding in Person
does not imply that the lot is free from faults or imperfections. Solely as a To bid in person, you will need to register for and collect a paddle before the auction
convenience to clients, Phillips may provide condition reports. In preparing such begins. New clients are encouraged to register at least 48 hours in advance of a sale
reports, our specialists assess the condition in a manner appropriate to the to allow sufcient time for us to process your information. All lots sold will be invoiced
estimated value of the property and the nature of the auction in which it is included. to the name and address to which the paddle has been registered and invoices cannot
While condition reports are prepared honestly and carefully, our staf are not be transferred to other names and addresses. Please do not misplace your paddle. In
professional restorers or trained conservators. We therefore encourage all the event you lose it, inform a Phillips staf member immediately. At the end of the
prospective buyers to inspect the property at the pre-sale exhibitions and auction, please return your paddle to the registration desk.
recommend, particularly in the case of any lot of signifcant value, that you retain
your own restorer or professional advisor to report to you on the propertys Bidding by Telephone
condition prior to bidding. Any prospective buyer of photographs or prints should If you cannot attend the auction, you may bid live on the telephone with one of
always request a condition report because all such property is sold unframed, our multi-lingual staf members. This service must be arranged at least 24 hours
unless otherwise indicated in the condition report. If a lot is sold framed, Phillips in advance of the sale and is available for lots whose low pre-sale estimate is
accepts no liability for the condition of the frame. If we sell any lot unframed, we will at least $1,000. Telephone bids may be recorded. By bidding on the telephone,
be pleased to refer the purchaser to a professional framer. you consent to the recording of your conversation. We suggest that you leave a
maximum bid, excluding the buyers premium and any applicable taxes, which we
can execute on your behalf in the event we are unable to reach you by telephone.

NY_TCA_DAY_NOV16_176-235_v5.indd 212 21/10/16 17:51


Mert & Marcus
Works 20o12014
London, 24 October3 November 2016
Paris, 916 November 2016
In association with Art Partner, Phillips
presents the frst major exhibition of the
dynamic artist duo Mert & Marcus.
To celebrate the 20th anniversary of
their collaboration, the artists will release
18 works for sale for the very frst time.

Visit our public viewings at 30 Berkeley


Square, London W1J 6EX from 24 October
3 November and 46 Rue du Bac, Paris 75007
from 9 16 November or visit phillips.com

Enquries
Mert & Marcus
Smoke, 2011 Julia Scott
Image Mert & Marcus jscott@phillips.com, +44 20 7318 7940

phillips.com

NY_TCA_DAY_NOV16_176-235_v5.indd 213 21/10/16 17:51


Online Bidding
If you cannot attend the auction in person, you may bid online on our online the bidding from that amount. Absentee bids on no reserve lots will, in the absence
live bidding platform available on our website at www.phillips.com. The digital of a higher bid, be executed at approximately 50% of the low pre-sale estimate or
saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there
Explorer browsers. Clients who wish to run the platform on Safari will need to is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.
install Adobe FlashPlayer. Follow the links to Auctions and Digital Saleroom and
then pre-register by clicking on Register to Bid Live. The frst time you register 4 Afer the Auction
you will be required to create an account; thereafer you will only need to register
for each sale. You must pre-register at least 24 hours before the start of the Payment
auction in order to be approved by our bid department. Please note that corporate Buyers are required to pay for purchases immediately following the auction
frewalls may cause difculties for online bidders. unless other arrangements are agreed with Phillips in writing in advance of the
sale. Payment must be made in US dollars either by cash, check drawn on a US
Absentee Bids bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our
If you are unable to attend the auction and cannot participate by telephone, corporate policy not to make or accept single or multiple payments in cash or cash
Phillips will be happy to execute written bids on your behalf. A bidding form can equivalents in excess of US$10,000.
be found at the back of this catalogue. This service is free and confdential. Bids
must be placed in the currency of the sale. Our staf will attempt to execute an Credit Cards
absentee bid at the lowest possible price taking into account the reserve and other As a courtesy to clients, Phillips will accept American Express, Visa and
bidders. Always indicate a maximum bid, excluding the buyers premium and any Mastercard to pay for invoices of $100,000 or less. A processing fee will apply.
applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be
received at least 24 hours in advance of the sale. In the event of identical bids, the Collection
earliest bid received will take precedence. It is our policy to request proof of identity on collection of a lot. A lot will be
released to the buyer or the buyers authorized representative when Phillips has
Employee Bidding received full and cleared payment and we are not owed any other amount by the
Employees of Phillips and our afliated companies, including the auctioneer, may buyer. Promptly afer the auction, we will transfer all lots to our warehouse located
bid at the auction by placing absentee bids so long as they do not know the reserve at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots
when submitting their absentee bids and otherwise comply with our employee should be collected at this location during our regular weekday business hours. As
bidding procedures. a courtesy to clients, we will upon request transfer purchased lots suitable for hand
carry back to our premises at 450 Park Avenue, New York, New York for collection
Bidding Increments within 30 days following the date of the auction. We will levy removal, interest,
Bidding generally opens below the low estimate and advances in increments of up storage and handling charges on uncollected lots.
to 10%, subject to the auctioneers discretion. Absentee bids that do not conform
to the increments set below may be lowered to the next bidding increment. Loss or Damage
Buyers are reminded that Phillips accepts liability for loss or damage to lots for a
$50 to $1,000 by $50s maximum of seven days following the auction.
$1,000 to $2,000 by $100s
$2,000 to $3,000 by $200s Transport and Shipping
$3,000 to $5,000 by $200s, 500, 800 (i.e., $4,200, 4,500, 4,800) As a free service for buyers, Phillips will wrap purchased lots for hand carry only.
$5,000 to $10,000 by $500s Alternatively, we will either provide packing, handling and shipping services or
$10,000 to $20,000 by $1,000s coordinate with shipping agents in order to facilitate such services for property
$20,000 to $30,000 by $2,000s purchased at Phillips. In the event that the property is collected in New York by
$30,000 to $50,000 by $2,000s, 5,000, 8,000 the buyer or the buyers designee (including any private carrier) for subsequent
$50,000 to $100,000 by $5,000s transport out of state, Phillips may be required by law to collect New York sales
$100,000 to $200,000 by $10,000s tax, regardless of the lots ultimate destination. Please refer to Paragraph 17 of the
above $200,000 auctioneers discretion Conditions of Sale for more information.

The auctioneer may vary the increments during the course of the auction at his or Export and Import Licenses
her own discretion. Before bidding for any property, prospective bidders are advised to make
independent inquiries as to whether a license is required to export the property
3 The Auction from the United States or to import it into another country. It is the buyers
sole responsibility to comply with all import and export laws and to obtain any
Conditions of Sale necessary licenses or permits. The denial of any required license or permit or any
As noted above, the auction is governed by the Conditions of Sale and Authorship delay in obtaining such documentation will not justify the cancellation of the sale
Warranty. All prospective bidders should read them carefully. They may be or any delay in making full payment for the lot.
amended by saleroom addendum or auctioneers announcement.
Endangered Species
Interested Parties Announcement Items made of or incorporating plant or animal material, such as coral, crocodile,
In situations where a person allowed to bid on a lot has a direct or indirect interest in ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective
such lot, such as the benefciary or executor of an estate selling the lot, a joint owner of age, percentage or value, may require a license or certifcate prior to exportation
of the lot or a party providing or participating in a guarantee on the lot, Phillips will
and additional licenses or certifcates upon importation to any foreign country.
make an announcement in the saleroom that interested parties may bid on the lot.
Please note that the ability to obtain an export license or certifcate does not
ensure the ability to obtain an import license or certifcate in another country, and
Consecutive and Responsive Bidding; No Reserve Lots
The auctioneer may open the bidding on any lot by placing a bid on behalf of the vice versa. We suggest that prospective bidders check with their own government
seller. The auctioneer may further bid on behalf of the seller up to the amount regarding wildlife import requirements prior to placing a bid. It is the buyers sole
of the reserve by placing consecutive bids or bids in response to other bidders. responsibility to obtain any necessary export or import licenses or certifcates
If a lot is ofered without reserve, unless there are already competing absentee as well as any other required documentation. Please note that lots containing
bids, the auctioneer will generally open the bidding at 50% of the lots low pre- potentially regulated plant or animal material are marked as a convenience to our
sale estimate. In the absence of a bid at that level, the auctioneer will proceed clients, but Phillips does not accept liability for errors or for failing to mark lots
backwards at his or her discretion until a bid is recognized and will then advance containing protected or regulated species.

NY_TCA_DAY_NOV16_176-235_v5.indd 214 21/10/16 17:51


Federico Herrero
Vaca, 2008 (detail)
Mixed media on canvas
200 x 400 cm ((78 3/4 x 157 1/ 2 in.)
25,000-30,000
28,00033,600,
$30,70036,900

Sell with us.


New Now Auction
London, 8 December, 2pm

New Now showcases the best of whats


happening right now in contemporary
artall in one place. These diverse lots
are equally seductive to savvy collectors
and auction-curious newcomers.

If you think our New Now sale might be


the right ft for a work in your collection,
get in touch.

Enquiries
Simon Tovey
stovey@phillips.com

phillips.com

NY_TCA_DAY_NOV16_176-235_v5.indd 215 21/10/16 17:51


Conditions of Sale
The Conditions of Sale and Authorship Warranty set forth below govern the revised from time to time by Phillips in our absolute discretion. Neither Phillips nor
relationship between bidders and buyers, on the one hand, and Phillips and sellers, any of our afliated companies shall be liable for any diference between the pre-
on the other hand. All prospective buyers should read these Conditions of Sale and sale estimates for any lot and the actual price achieved at auction or upon resale.
Authorship Warranty carefully before bidding.
4 Bidding at Auction
1 Introduction (a) Phillips has absolute discretion to refuse admission to the auction or
Each lot in this catalogue is ofered for sale and sold subject to: (a) the Conditions participation in the sale. All bidders must register for a paddle prior to bidding,
of Sale and Authorship Warranty; (b) additional notices and terms printed in supplying such information and references as required by Phillips.
other places in this catalogue, including the Guide for Prospective Buyers, and (c)
supplements to this catalogue or other written material posted by Phillips in the (b) As a convenience to bidders who cannot attend the auction in person, Phillips
saleroom, in each case as amended by any addendum or announcement by the may, if so instructed by the bidder, execute written absentee bids on a bidders
auctioneer prior to the auction. behalf. Absentee bidders are required to submit bids on the Absentee Bid Form,
a copy of which is printed in this catalogue or otherwise available from Phillips.
By bidding at the auction, whether in person, through an agent, by written bid, Bids must be placed in the currency of the sale. The bidder must clearly indicate
by telephone bid or other means, bidders and buyers agree to be bound by these the maximum amount he or she intends to bid, excluding the buyers premium
Conditions of Sale, as so changed or supplemented, and Authorship Warranty. and any applicable sales or use taxes. The auctioneer will not accept an instruction
to execute an absentee bid which does not indicate such maximum bid. Our staf
These Conditions of Sale, as so changed or supplemented, and Authorship will attempt to execute an absentee bid at the lowest possible price taking into
Warranty contain all the terms on which Phillips and the seller contract account the reserve and other bidders. Any absentee bid must be received at
with the buyer. least 24 hours in advance of the sale. In the event of identical bids, the earliest bid
received will take precedence.
2 Phillips as Agent
Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue (c) Telephone bidders are required to submit bids on the Telephone Bid Form,
or at the time of auction. On occasion, Phillips may own a lot directly, in which a copy of which is printed in this catalogue or otherwise available from Phillips.
case we will act in a principal capacity as a consignor, or a company afliated with Telephone bidding is available for lots whose low pre-sale estimate is at least
Phillips may own a lot, in which case we will act as agent for that company, or $1,000. Phillips reserves the right to require written confrmation of a successful
Phillips or an afliated company may have a legal, benefcial or fnancial interest in bid from a telephone bidder by fax or otherwise immediately afer such bid is
a lot as a secured creditor or otherwise. accepted by the auctioneer. Telephone bids may be recorded and, by bidding on
the telephone, a bidder consents to the recording of the conversation.
3 Catalogue Descriptions and Condition of Property
Lots are sold subject to the Authorship Warranty, as described in the catalogue (d) Bidders may participate in an auction by bidding online through Phillipss online
(unless such description is changed or supplemented, as provided in Paragraph 1 live bidding platform available on our website at www.phillips.com. To bid online,
above) and in the condition that they are in at the time of the sale on the bidders must register online at least 24 hours before the start of the auction.
following basis. Online bidding is subject to approval by Phillipss bid department in our sole
discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to
(a) The knowledge of Phillips in relation to each lot is partially dependent inspect prior to the auction any lot(s) on which they may bid, and condition reports
on information provided to us by the seller, and Phillips is not able to and are available upon request. Bidding in a live auction can progress quickly. To
does not carry out exhaustive due diligence on each lot. Prospective buyers ensure that online bidders are not placed at a disadvantage when bidding against
acknowledge this fact and accept responsibility for carrying out inspections and bidders in the room or on the telephone, the procedure for placing bids through
investigations to satisfy themselves as to the lots in which they may be interested. Phillipss online bidding platform is a one-step process. By clicking the bid button
Notwithstanding the foregoing, we shall exercise such reasonable care when on the computer screen, a bidder submits a bid. Online bidders acknowledge and
making express statements in catalogue descriptions or condition reports as agree that bids so submitted are fnal and may not under any circumstances be
is consistent with our role as auctioneer of lots in this sale and in light of (i) the amended or retracted. During a live auction, when bids other than online bids are
information provided to us by the seller, (ii) scholarship and technical knowledge placed, they will be displayed on the online bidders computer screen as foor
and (iii) the generally accepted opinions of relevant experts, in each case at the bids. Floor bids include bids made by the auctioneer to protect the reserve. In
time any such express statement is made. the event that an online bid and a foor or phone bid are identical, the foor bid
may take precedence at the auctioneers discretion. The next bidding increment
(b) Each lot ofered for sale at Phillips is available for inspection by prospective is shown for the convenience of online bidders in the bid button. The bidding
buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders increment available to online bidders may vary from the next bid actually taken by
(and independent experts on their behalf, to the extent appropriate given the the auctioneer, as the auctioneer may deviate from Phillipss standard increments
nature and value of the lot and the bidders own expertise) have fully inspected the at any time at his or her discretion, but an online bidder may only place a bid in a
lot prior to bidding and have satisfed themselves as to both the condition of the lot whole bidding increment. Phillipss bidding increments are published in the Guide
and the accuracy of its description. for Prospective Buyers.

(c) Prospective buyers acknowledge that many lots are of an age and type which (e) When making a bid, whether in person, by absentee bid, on the telephone or
means that they are not in perfect condition. As a courtesy to clients, Phillips may online, a bidder accepts personal liability to pay the purchase price, as described
prepare and provide condition reports to assist prospective buyers when they are more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has
inspecting lots. Catalogue descriptions and condition reports may make reference been explicitly agreed in writing with Phillips before the commencement of the
to particular imperfections of a lot, but bidders should note that lots may have auction that the bidder is acting as agent on behalf of an identifed third party
other faults not expressly referred to in the catalogue or condition report. All acceptable to Phillips and that we will only look to the principal for such payment.
dimensions are approximate. Illustrations are for identifcation purposes only and
cannot be used as precise indications of size or to convey full information as to the (f) By participating in the auction, whether in person, by absentee bid, on the
actual condition of lots. telephone or online, each prospective buyer represents and warrants that any
bids placed by such person, or on such persons behalf, are not the product of any
(d) Information provided to prospective buyers in respect of any lot, including collusive or other anti-competitive agreement and are otherwise consistent with
any pre-sale estimate, whether written or oral, and information in any catalogue, federal and state antitrust law.
condition or other report, commentary or valuation, is not a representation of
fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may (g) Arranging absentee, telephone and online bids is a free service provided by
not be relied on as a prediction of the selling price or value of the lot and may be Phillips to prospective buyers. While we undertake to exercise reasonable care in

NY_TCA_DAY_NOV16_176-235_v5.indd 216 21/10/16 17:51


Jackson Pollock
Untitled (M20), 1946 (detail)
unique screenprint on brown paper
Estimate: $61,000-85,900
50,000-70,000, 56,000-78,300

Iconic Editions.
Modern and Contemporary Editions
Evening & Day Auctions
London, 19 January 2017

Phillips defnes the Editions category.


Our 2016 London auctions achieved a
record-breaking sales total of 5.8m with
86% sold by lot and 92% by value. Our January
sales will present museum-quality, original
artist prints and multiples - inviting collectors
to add the heavyweights of contemporary
and modern art to their collections.

If you would like to sell a work of art through us


in our upcoming Editions auction, please contact:
Robert Kennan, Head of Editions, Europe
editionslondon@phillips.com

phillips.com

NY_TCA_DAY_NOV16_176-235_v5.indd 217 21/10/16 17:51


undertaking such activity, we cannot accept liability for failure to execute such (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately
bids except where such failure is caused by our willful misconduct. following the auction regardless of any intention to obtain an export or import license
or other permit for such lot. Payments must be made by the invoiced party in US
(h) Employees of Phillips and our afliated companies, including the auctioneer, dollars either by cash, check drawn on a US bank or wire transfer, as follows:
may bid at the auction by placing absentee bids so long as they do not know
the reserve when submitting their absentee bids and otherwise comply with our (i) Phillips will accept payment in cash provided that the total amount paid in
employee bidding procedures. cash or cash equivalents does not exceed US$10,000. Buyers paying in cash
should do so in person at our Client Accounting Desk at 450 Park Avenue during
5 Conduct of the Auction regular weekday business hours.
(a) Unless otherwise indicated by the symbol , each lot is ofered subject to a reserve,
which is the confdential minimum selling price agreed by Phillips with the seller. The (ii) Personal checks and bankers draf s are accepted if drawn on a US bank and
reserve will not exceed the low pre-sale estimate at the time of the auction. the buyer provides to us acceptable government issued identifcation. Checks
and bankers draf s should be made payable to Phillips. If payment is sent
(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, by mail, please send the check or bankers draf to the attention of the Client
re-ofer a lot for sale (including afer the fall of the hammer) if he or she believes Accounting Department at 450 Park Avenue, New York, NY 10022 and make sure
there may be error or dispute and take such other action as he or she deems that the sale and lot number is written on the check. Checks or bankers draf s
reasonably appropriate. Phillips shall have no liability whatsoever for any such drawn by third parties will not be accepted.
action taken by the auctioneer. If any dispute arises afer the sale, our sale record
is conclusive. The auctioneer may accept bids made by a company afliated with (iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details:
Phillips provided that the bidder does not know the reserve placed on the lot.
Citibank
(c) The auctioneer will commence and advance the bidding at levels and in 322 West 23rd Street, New York, NY 10011
increments he or she considers appropriate. In order to protect the reserve on SWIFT Code: CITIUS33
any lot, the auctioneer may place one or more bids on behalf of the seller up to ABA Routing: 021 000 089
the reserve without indicating he or she is doing so, either by placing consecutive For the account of Phillips
bids or bids in response to other bidders. If a lot is ofered without reserve, unless Account no.: 58347736
there are already competing absentee bids, the auctioneer will generally open the
bidding at 50% of the lots low pre-sale estimate. In the absence of a bid at that Please reference the relevant sale and lot number.
level, the auctioneer will proceed backwards at his or her discretion until a bid is
recognized and will then advance the bidding from that amount. Absentee bids on (d) As a courtesy to clients, Phillips will accept American Express, Visa and
no reserve lots will, in the absence of a higher bid, be executed at approximately Mastercard to pay for invoices of $100,000 or less. A processing fee of 3.5% will apply.
50% of the low pre-sale estimate or at the amount of the bid if it is less than 50%
of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the (e) Title in a purchased lot will not pass until Phillips has received the Purchase
auctioneer may deem such lot unsold. Price for that lot in cleared funds. Phillips is not obliged to release a lot to the
buyer until title in the lot has passed and appropriate identifcation has been
(d) The sale will be conducted in US dollars and payment is due in US dollars. For provided, and any earlier release does not afect the passing of title or the buyers
the beneft of international clients, pre-sale estimates in the auction catalogue unconditional obligation to pay the Purchase Price.
may be shown in pounds sterling and/or euros and, if so, will refect approximate
exchange rates. Accordingly, estimates in pounds sterling or euros should be 7 Collection of Property
treated only as a guide. If a currency converter is operated during the sale, it is (a) Phillips will not release a lot to the buyer until we have received payment of its
done so as a courtesy to bidders, but Phillips accepts no responsibility for any Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts
errors in currency conversion calculation. due to Phillips or any of our afliated companies, including any charges payable
pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms
(e) Subject to the auctioneers reasonable discretion, the highest bidder accepted as we in our sole discretion shall require, including completing any anti-money
by the auctioneer will be the buyer and the striking of the hammer marks the laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed all
acceptance of the highest bid and the conclusion of a contract for sale between of the foregoing conditions, he or she should contact our Shipping Department at
the seller and the buyer. Risk and responsibility for the lot passes to the buyer as +1212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property.
set forth in Paragraph 7 below.
(b) The buyer must arrange for collection of a purchased lot within seven days of
(f) If a lot is not sold, the auctioneer will announce that it has been passed, the date of the auction. Promptly afer the auction, we will transfer all lots to our
withdrawn, returned to owner or bought-in. warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York.
All purchased lots should be collected at this location during our regular weekday
(g) Any post-auction sale of lots ofered at auction shall incorporate these business hours. As a courtesy to clients, Phillips will upon request transfer on a bi-
Conditions of Sale and Authorship Warranty as if sold in the auction. weekly basis purchased lots suitable for hand-carry back to our premises at 450Park
Avenue, New York, New York for collection within 30 days following the date of
6 Purchase Price and Payment the auction. Purchased lots are at the buyers risk, including the responsibility for
(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the insurance, from the earlier to occur of (i) the date of collection or (ii) seven days
buyers premium and any applicable sales tax (the Purchase Price). The buyers afer the auction. Until risk passes, Phillips will compensate the buyer for any loss or
premium is 25% of the hammer price up to and including $200,000, 20% of the damage to a purchased lot up to a maximum of the Purchase Price paid, subject to
portion of the hammer price above $200,000 up to and including $3,000,000 and our usual exclusions for loss or damage to property.
12% of the portion of the hammer price above $3,000,000. Phillips reserves the
right to pay from our compensation an introductory commission to one or more (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for
third parties for assisting in the sale of property ofered and sold at auction. hand-carry only. We will, at the buyers expense, either provide packing, handling,
insurance and shipping services or coordinate with shipping agents instructed by
(b) Sales tax, use tax and excise and other taxes are payable in accordance with the buyer in order to facilitate such services for property bought at Phillips. Any such
applicable law. All prices, fees, charges and expenses set out in these Conditions of instruction, whether or not made at our recommendation, is entirely at the buyers risk
Sale are quoted exclusive of applicable taxes. Phillips will only accept valid resale and responsibility, and we will not be liable for acts or omissions of third party packers or
certifcates from US dealers as proof of exemption from sales tax. All foreign shippers. Third party shippers should contact us by telephone at +1212940 1376 or by fax
buyers should contact the Client Accounting Department about tax matters. at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup.

NY_TCA_DAY_NOV16_176-235_v5.indd 218 21/10/16 17:52


Donald Judd
Judd Foundation invites
owners of Donald Judd
artworks paintings,
objects, and wood-blocks

Catalogue Raisonn to submit information.

For details please visit:

Call For Works juddfoundation.org/catalogue

or contact:
cr@juddfoundation.org
Tel +1 432 729 4406 ext.102
P. O. Box 218
Marfa,TX 79843

juddfoundation.org

NY_TCA_DAY_NOV16_176-235_v5.indd 219 21/10/16 17:52


(d) Phillips will require presentation of government issued identifcation prior to buyer will promptly return the lot to Phillips, and we will then refund the Purchase
release of a lot to the buyer or the buyers authorized representative. Price paid to us. As described more fully in Paragraph 13 below, the refund shall
constitute the sole remedy and recourse of the buyer against Phillips and the seller
8 Failure to Collect Purchases with respect to such rescinded sale.
(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30
days of the auction, the buyer will incur a late collection fee of $10 per day for each 11 Export, Import and Endangered Species Licenses and Permits
uncollected lot. Additional charges may apply to oversized lots. We will not release Before bidding for any property, prospective buyers are advised to make their
purchased lots to the buyer until all such charges have been paid in full. own inquiries as to whether a license is required to export a lot from the US or
to import it into another country. Prospective buyers are advised that some
(b) If a purchased lot is paid for but not collected within six months of the auction, countries prohibit the import of property made of or incorporating plant or animal
the buyer authorizes Phillips, upon notice, to arrange a resale of the item by material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros
auction or private sale, with estimates and a reserve set at Phillipss reasonable horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior
discretion. The proceeds of such sale will be applied to pay for storage charges to bidding, prospective buyers considering export of purchased lots should
and any other outstanding costs and expenses owed by the buyer to Phillips or our familiarize themselves with relevant export and import regulations of the
afliated companies and the remainder will be forfeited unless collected by the countries concerned. It is solely the buyers responsibility to comply with these
buyer within two years of the original auction. laws and to obtain any necessary export, import and endangered species licenses
or permits. Failure to obtain a license or permit or delay in so doing will not justify
9 Remedies for Non-Payment the cancellation of the sale or any delay in making full payment for the lot. As a
(a) Without prejudice to any rights the seller may have, if the buyer without prior courtesy to clients, Phillips has marked in the catalogue lots containing potentially
agreement fails to make payment of the Purchase Price for a lot in cleared funds regulated plant or animal material, but we do not accept liability for errors or for
within seven days of the auction, Phillips may in our sole discretion exercise one or failing to mark lots containing protected or regulated species.
more of the following remedies: (i) store the lot at Phillipss premises or elsewhere
at the buyers sole risk and expense at the same rates as set forth in Paragraph 12 Data Protection
8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the (a) In connection with the supply of auction and related services, or as required
Purchase Price as liquidated damages; (iii) reject future bids from the buyer or by law, Phillips may ask clients to provide personal data. Phillips may take and
render such bids subject to payment of a deposit; (iv) charge interest at 12% per retain a copy of government-issued identifcation such as a passport or drivers
annum from the date payment became due until the date the Purchase Price is license. We will use your personal data (i) to provide auction and related services;
received in cleared funds; (v) subject to notifcation of the buyer, exercise a lien (ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks;
over any of the buyers property which is in the possession of Phillips and instruct (iv) to implement and improve the management and operations of our business
our afliated companies to exercise a lien over any of the buyers property which is and (v) for other purposes set out in our Privacy Policy published on the Phillips
in their possession and, in each case, no earlier than 30 days from the date of such website at www.phillips.com (the Privacy Policy) and available on request by
notice, arrange the sale of such property and apply the proceeds to the amount emailing dataprotection@phillips.com. By agreeing to these Conditions of Sale,
owed to Phillips or any of our afliated companies afer the deduction from sale you consent to our use of your personal data, including sensitive personal data, in
proceeds of our standard vendors commission and all sale-related expenses; (vi) accordance with the Privacy Policy. The personal data we may collect and process
resell the lot by auction or private sale, with estimates and a reserve set at Phillips is listed, and sensitive personal data is defned, in our Privacy Policy. Phillips may
reasonable discretion, it being understood that in the event such resale is for less also, from time to time, send you promotional and marketing materials about us
than the original hammer price and buyers premium for that lot, the buyer will and our services. If you would prefer not to receive such information, please email
remain liable for the shortfall together with all costs incurred in such resale; (vii) us at dataprotection@phillips.com. Please also email us at this address to receive
commence legal proceedings to recover the hammer price and buyers premium information about your personal data or to advise us if the personal data we hold
for that lot, together with interest and the costs of such proceedings; (viii) set about you is inaccurate or out of date.
of the outstanding amount remaining unpaid by the buyer against any amounts
which we or any of our afliated companies may owe the buyer in any other (b) In order to provide our services, we may disclose your personal data to third
transactions; (ix) release the name and address of the buyer to the seller to enable parties, including professional advisors, shippers and credit agencies. We will
the seller to commence legal proceedings to recover the amounts due and legal disclose, share with and transfer your personal data to Phillipss afliated persons
costs or (x) take such other action as we deem necessary or appropriate. (natural or legal) for administration, sale and auction related purposes. You
expressly consent to such transfer of your personal data. We will not sell, rent or
(b) As security to us for full payment by the buyer of all outstanding amounts due otherwise transfer any of your personal data to third parties except as otherwise
to Phillips and our afliated companies, Phillips retains, and the buyer grants expressly provided in this Paragraph 12.
to us, a security interest in each lot purchased at auction by the buyer and in
any other property or money of the buyer in, or coming into, our possession or (c) Phillipss premises may be subject to video surveillance and recording.
the possession of one of our afliated companies. We may apply such money or Telephone calls (e.g., telephone bidding) may also be recorded. We may process
deal with such property as the Uniform Commercial Code or other applicable law that information in accordance with our Privacy Policy.
permits a secured creditor to do. In the event that we exercise a lien over property
in our possession because the buyer is in default to one of our afliated companies, 13 Limitation of Liability
we will so notify the buyer. Our security interest in any individual lot will terminate (a) Subject to subparagraph (e) below, the total liability of Phillips, our afliated
upon actual delivery of the lot to the buyer or the buyers agent. companies and the seller to the buyer in connection with the sale of a lot shall be
limited to the Purchase Price actually paid by the buyer for the lot.
(c) In the event the buyer is in default of payment to any of our afliated
companies, the buyer also irrevocably authorizes Phillips to pledge the buyers (b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our
property in our possession by actual or constructive delivery to our afliated afliated companies or the seller (i) is liable for any errors or omissions, whether
company as security for the payment of any outstanding amount due. Phillips will orally or in writing, in information provided to prospective buyers by Phillips or any
notify the buyer if the buyers property has been delivered to an afliated company of our afliated companies or (ii) accepts responsibility to any bidder in respect
by way of pledge. of acts or omissions, whether negligent or otherwise, by Phillips or any of our
afliated companies in connection with the conduct of the auction or for any other
10 Rescission by Phillips matter relating to the sale of any lot.
Phillips shall have the right, but not the obligation, to rescind a sale without notice
to the buyer if we reasonably believe that there is a material breach of the sellers (c) All warranties other than the Authorship Warranty, express or implied,
representations and warranties or the Authorship Warranty or an adverse claim including any warranty of satisfactory quality and ftness for purpose, are
is made by a third party. Upon notice of Phillipss election to rescind the sale, the

NY_TCA_DAY_NOV16_176-235_v5.indd 220 21/10/16 17:52


specifcally excluded by Phillips, our afliated companies and the seller to the (b) If the point of delivery or transfer of possession for any purchased lot to the
fullest extent permitted by law. buyer or the buyers designee (including any private carrier) occurs in New York,
then the sale is subject to New York sales tax at the existing rate of 8.875%.
(d) Subject to subparagraph (e) below, none of Phillips, any of our afliated
companies or the seller shall be liable to the buyer for any loss or damage beyond (c) If the buyer arranges shipping for any purchased lot in New York by: (i) a
the refund of the Purchase Price referred to in subparagraph (a) above, whether common carrier (such as the United States Postal Service, United Parcel Service,
such loss or damage is characterized as direct, indirect, special, incidental or or FedEx) that does not operate under a private agreement or contract with
consequential, or for the payment of interest on the Purchase Price to the fullest negotiated terms to be delivered to an out of state destination; or (ii) a freight
extent permitted by law. forwarder registered with the Transportation Security Administration (TSA) to
be delivered outside of the United States, then the sale is not subject to New York
(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the sales tax.
liability of Phillips or any of our afliated companies to the buyer in respect of any
fraud or fraudulent misrepresentation made by any of us or in respect of death or
personal injury caused by our negligent acts or omissions.
Authorship Warranty
14 Copyright
Phillips warrants the authorship of property in this auction catalogue described in
The copyright in all images, illustrations and written materials produced by or
headings in bold or CAPITALIZED type for a period of fve years from date of sale
for Phillips relating to a lot, including the contents of this catalogue, is and shall
by Phillips, subject to the exclusions and limitations set forth below.
remain at all times the property of Phillips and such images and materials may not
be used by the buyer or any other party without our prior written consent. Phillips
(a) Phillips gives this Authorship Warranty only to the original buyer of record
and the seller make no representations or warranties that the buyer of a lot will
(i.e., the registered successful bidder) of any lot. This Authorship Warranty does
acquire any copyright or other reproduction rights in it.
not extend to (i) subsequent owners of the property, including purchasers or
recipients by way of gif from the original buyer, heirs, successors, benefciaries
15 General
and assigns; (ii) property where the description in the catalogue states that there
(a) These Conditions of Sale, as changed or supplemented as provided in
is a confict of opinion on the authorship of the property; (iii) property where our
Paragraph 1 above, and Authorship Warranty set out the entire agreement
attribution of authorship was on the date of sale consistent with the generally
between the parties with respect to the transactions contemplated herein and
accepted opinions of specialists, scholars or other experts; (iv) property whose
supersede all prior and contemporaneous written, oral or implied understandings,
description or dating is proved inaccurate by means of scientifc methods or tests
representations and agreements.
not generally accepted for use at the time of the publication of the catalogue or
which were at such time deemed unreasonably expensive or impractical to use or
(b) Notices to Phillips shall be in writing and addressed to the department in
likely in our reasonable opinion to have caused damage or loss in value to the lot or
charge of the sale, quoting the reference number specifed at the beginning of the
(v) property where there has been no material loss in value from the value of the
sale catalogue. Notices to clients shall be addressed to the last address notifed by
lot had it been as described in the heading of the catalogue entry.
them in writing to Phillips.

(b) In any claim for breach of the Authorship Warranty, Phillips reserves the right,
(c) These Conditions of Sale are not assignable by any buyer without our
as a condition to rescinding any sale under this warranty, to require the buyer
prior written consent but are binding on the buyers successors, assigns and
to provide to us at the buyers expense the written opinions of two recognized
representatives.
experts approved in advance by Phillips. We shall not be bound by any expert
report produced by the buyer and reserve the right to consult our own experts at
(d) Should any provision of these Conditions of Sale be held void, invalid or
our expense. If Phillips agrees to rescind a sale under the Authorship Warranty,
unenforceable for any reason, the remaining provisions shall remain in full force
we shall refund to the buyer the reasonable costs charged by the experts
and efect. No failure by any party to exercise, nor any delay in exercising, any right
commissioned by the buyer and approved in advance by us.
or remedy under these Conditions of Sale shall act as a waiver or release thereof in
whole or in part.
(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may
bring a claim for breach of the Authorship Warranty provided that (i) he or she has
16 Law and Jurisdiction
notifed Phillips in writing within three months of receiving any information which
(a) The rights and obligations of the parties with respect to these Conditions of
causes the buyer to question the authorship of the lot, specifying the auction in
Sale and Authorship Warranty, the conduct of the auction and any matters related
which the property was included, the lot number in the auction catalogue and
to any of the foregoing shall be governed by and interpreted in accordance with
the reasons why the authorship of the lot is being questioned and (ii) the buyer
laws of the State of New York, excluding its conficts of law rules.
returns the lot to Phillips to the saleroom in which it was purchased in the same
condition as at the time of its auction and is able to transfer good and marketable
(b) Phillips, all bidders and all sellers agree to the exclusive jurisdiction of the (i)
title in the lot free from any third party claim arising afer the date of the auction.
state courts of the State of New York located in New York City and (ii) the federal
Phillips has discretion to waive any of the foregoing requirements set forth in this
courts for the Southern and Eastern Districts of New York to settle all disputes
subparagraph (c) or subparagraph (b) above.
arising in connection with all aspects of all matters or transactions to which these
Conditions of Sale and Authorship Warranty relate or apply.
(d) The buyer understands and agrees that the exclusive remedy for any breach of
the Authorship Warranty shall be rescission of the sale and refund of the original
(c) All bidders and sellers irrevocably consent to service of process or any other
Purchase Price paid. This remedy shall constitute the sole remedy and recourse
documents in connection with proceedings in any court by facsimile transmission,
of the buyer against Phillips, any of our afliated companies and the seller and is
personal service, delivery by mail or in any other manner permitted by New York
in lieu of any other remedy available as a matter of law or equity. This means that
law or the law of the place of service, at the last address of the bidder or seller
none of Phillips, any of our afliated companies or the seller shall be liable for loss
known to Phillips.
or damage beyond the remedy expressly provided in this Authorship Warranty,
whether such loss or damage is characterized as direct, indirect, special, incidental
17 Sales Tax
or consequential, or for the payment of interest on the original Purchase Price.
(a) Unless the buyer has delivered a valid certifcate evidencing exemption from
tax, the buyer shall pay applicable New York, California, Colorado, Florida or
Washington sales tax on any lot picked up or delivered anywhere in the states of
New York, California, Colorado, Florida or Washington.

NY_TCA_DAY_NOV16_176-235_v5.indd 221 21/10/16 17:52


Executive Management
Chairman & CEO
Edward Dolman

Senior Directors Worldwide Deputy Chairman Chief of Staf


Jean-Paul Engelen Svetlana Marich Lisa King
Henry Allsopp
Deputy Chairman Chief Financial Ofcer
Vanessa Hallett
Robert Manley Annette Schwaer
Cary Leibowitz
Zach Miner Deputy Chairman, Europe & Asia Chief Creative & Marketing Ofcer
Scott Nussbaum and International Head of Business Damien Whitmore
Peter Sumner Development Chief Communications & PR Ofcer
Kelly Troester Matt Carey-Williams Michael Sherman
Senior Consultants Deputy Chairman, Europe & Asia Chief Counsel
Aurel Bacs Finn Schouenborg Dombernowsky Richard Aydon
Livia Russo Alexander Payne
Chief Operating Ofcer, Americas
Senior Advisors to Chairman & CEO Sean Cleary
Deputy Chairman, Asia
Hugues Joffre, Chairman, UK & Europe
Jonathan Crockett Chief Operating Ofcer, UK Europe & Asia
Francesco Bonami
Sam Hines Frank Lasry
Arnold Lehman
Deputy Chairman, Americas International Business Directors
Directors
August O. Uribe Bart van Son, 20th Century & Contemporary Art
Alex Heminway
Myriam Christinaz, Jewelry, Watches, & Business Development
Nazgol Jahan
Paul Maudsley Senior Directors, Human Resources
Jennifer Garvin
Nicola Mason

Strategy Projects Director


Caroline Conegliano
International Specialists & Regional Directors
Associate General Counsel
Jonathan Illari
Chicago Los Angeles
Carol Ehlers Blake Koh
Specialist, Consultant Regional Director
+1 773 230 9192 +1 323 383 3266

Cologne Mexico Worldwide Ofces


Dr. Alice Trier Cecilia Laffan
Specialist Regional Director Sale Rooms Regional Ofces
+49 173 25 111 69 +52 1 55 5413 9468
New York Istanbul
Denver Miami 450 Park Avenue Meclisi Mebusan Caddesi
Melyora de Koning Valentina Garcia New York, NY 10022,USA Deniz Apartmani No. 79/8
Senior Specialist Specialist tel +1 212 940 1200 Istanbul Beyoglu 34427, Turkey
+1 917 657 7193 +1 917583 4983 fax +1 212 9401378 tel +90 533 374 1198
Geneva Moscow London Milan
Oksana Katchaluba Kalista Fenina 30 Berkeley Square Via Monte di Piet, 1/A
Specialist Specialist London W1J 6EX, UnitedKingdom Milan 20121
+41 22 906 80 00 +7 905 741 15 15 tel +44 20 7318 4010
Moscow
fax +44 20 73184011
Italy Paris Nikolskaya Str 1921, 5th foor,
Carolina Lanfranchi Maria Cifuentes Caruncho Geneva 109012 Moscow,Russia
Specialist, Consultant Specialist 15 quai de lIle tel +7 495 225 88 22
+39 33 8924 1720 +33 142 78 67 77 1204 Geneva,Switzerland fax +7 495 225 88 87
tel +41 22 317 81 81
Istanbul Portugal Paris
fax +41 22 317 81 80
Deniz Atac Maura Marvo 46 rue du Bac,
Specialist, Consultant Specialist, Consultant Hong Kong 75007 Paris,France
+90 533 374 1198 +351 917 564 427 Room 1301-13/F, York House, tel +33 1 42 78 67 77
The Landmark Building, fax +33 1 42 78 2307
Japan Seattle
15 Queens Road Central, Hong Kong
Kyoki Hattori Silvia Coxe Waltner
tel +852 2318 2000
Regional Director Regional Director
fax +852 2318 2002
+81 90 2245 6678 +1 206 604 6695

Korea Taiwan
Jane Yoon Cindy Yen
International Specialist Specialist
+ 852 2318 2027 +886 963 135 449

NY_TCA_DAY_NOV16_176-235_v5.indd 222 21/10/16 17:52


Specialists and Departments
20th Century & Contemporary Art Design
Jean-Paul Engelen, Alexander Payne, Worldwide Head, Design +44 20 7318 4052
Worldwide Co-Head 20th Century & Contemporary Art +1 212 940 1390 New York
Robert Manley, Alex Heminway, New York Director +1 212 940 1268
Worldwide Co-Head of 20th Century & Contemporary Art +44 20 7318 7923 Meaghan Roddy +1 212 940 1266
Jonathan Crockett, Cordelia Lembo, Head of Sale +1 212 940 1265
Head of 20th Century & Contemporary Art, Asia +852 2318 2023 Kimberly Srensen +1 212 940 1259
August O. Uribe +1 212 940 1208 Jillian Pfferling +1 212 940 1268
Bart Van Son +44 20 7318 7912 Marcus Tremonto +1 212 940 1268
New York London
Scott Nussbaum, Domenico Raimondo +44 20 7318 4016
Head of 20th Century & Contemporary Art, New York +1 212 940 1354 Adam Clay +44 20 7318 4048
Kate Bryan, Head of Evening Sale +1 212 940 1267 Madalena Horta e Costa, Head of Sale +44 20 7318 4019
John McCord, Head of Day Sale +1 212 940 1261 Marcus McDonald +44 20 7318 4095
Rebekah Bowling, Head of New Now Sale +1 212 940 1250 Sofia Sayn-Wittgenstein +44 20 7318 4023
Zach Miner +1 212 940 1256 Marta De Roia +44 20 7318 4096
Rachel Adler Rosan +1 212 940 1333 Lisa Stevenson +44 20 7901 7926
Kevie Yang +1 212 940 1254 Ben Williams +44 7769 94 7177
Karen Garka-Prince +1 212 940 1204
Amanda Lo Iacono +1 212 940 1260 Photographs
Katherine Lukacher +1 212 940 1215 Vanessa Hallett, Worldwide Head, Photographs +1 212 940 1243
Samuel Mansour +1 212 940 1219 New York
Annie Dolan +1 212 940 1288 Sarah Krueger, Head of Sale +1 212 940 1225
Paula Campolieto +1 212 940 1255 Caroline Deck +1 212 940 1247
Carolyn Mayer +1 212 940 1212 Rachel Peart +1 212 940 1246
Maiya Aiba +1 212 940 1387 Marijana Rayl +1 212 940 1386
London Chicago
Peter Sumner, Head of Contemporary Art, London +44 20 7318 4063 Carol Ehlers +1 773 230 9192
Henry Highley, Head of Evening Sale +44 20 7318 4061 London
Tamila Kerimova, Head of Day Sale & New Now +44 20 7318 4065 Genevieve Janvrin, Head of Photographs, Europe +44 20 7318 7996
Jonathan Horwich +44 20 7901 7935 Yuka Yamaji +44 20 7318 4098
Nathalie Zaquin-Boulakia +44 20 7901 7931 Alexandra Bibby +44 20 7318 4087
Matthew Langton +44 20 7318 4074 Julia Scott +44 20 7901 7940
Iori Endo +44 20 7318 4039 Sophie Busby +44 20 7318 4092
Simon Tovey +44 20 7318 4084
Alex Dolman +44 20 7901 7911 Watches
Ava Carleton-Williams +44 20 7901 7904 Sam Hines, International Head of Watches +852 2318 2030
Chiara Panarello +44 20 7318 4073 Geneva
Florencia Moscova +44 20 7318 4082 Aurel Bacs, Senior Consultant Bacs & Russo +41 22 317 81 85
Hong Kong Livia Russo, Senior Consultant Bacs & Russo +41 22 317 81 86
Jane Yoon +852 2318 2027 Justine Schaud, Bacs & Russo +41 22 317 8188
Sandy Ma +852 2318 2025 Alexandre Ghotbi +41 22 317 8181
Charlotte Raybaud +852 2318 2026 Dr. Nathalie Monbaron +41 22 317 81 83
Annie Tang +852 2318 2024 Virginie Liatard-Roessli +41 22 317 81 82
Diana Ortega +41 22 317 8187
Latin American Art Hong Kong
Henry Allsopp, Worldwide Head +44 20 7318 4060 Amy Chow +852 2318 2035
Kaeli Deane, Head of Sale +1 212 940 1352 Jill Chen +852 2318 2000
Valentina Garcia +1 917 583 4983 Joey Luk +852 2318 2032
Carolina Scarborough +1 212 940 1391 Tiffany To +852 2318 2036
Isabel Suarez +1 212 940 1227 Angel Ho +852 2318 2031
Zachary Lu +852 2318 2034
Modern and Contemporary Editions
Japan
Cary Leibowitz, Worldwide Co-Head +1 212 940 1222
Genki Sakamoto +81 3 6273 4818
Kelly Troester, Worldwide Co-Head +1 212 940 1221
Kaz Fujimoto +81 3 6273 4818
New York Taiwan
Jannah Greenblatt +1 212 940 1332 Cindy Yen +886 963 135 449
Jason Osborne +1 212 940 1322 New York
Kaissa Karhu +1 212 940 1238 Paul Boutros +1 212 940 1293
London Douglas Escribano +1 212 940 1382
Robert Kennan, Head of Editions, Europe +44 20 7318 4075 Leigh Zagoory +1 212 940 1285
Anne Schneider-Wilson +44 20 7318 4042 London
Ross Thomas +44 20 7318 4077 Paul David Maudsley +44 20 7901 7916
Rebecca Tooby-Desmond +44 20 7318 4079 Kate Lacey +44 20 7901 2907

NY_TCA_DAY_NOV16_176-235_v5.indd 223 21/10/16 17:52


Specialists and Departments
Jewels Operations
Hong Kong
Hong Kong
Juliana Cheung, Chief Operating Ofcer +852 2318 2020
Terri Chu, Head of Jewellery, Asia +852 2318 2038
Anellie Manolas +852 9383 3041 Client Advisory
Sammie Leung +852 2318 2040 London
Guy Vesey +44 20 7901 7934
New York Dawn Zhu +44 20 7318 4017
Nazgol Jahan +1 212 940 1283 Lily Atherton Hanbury +44 20 7318 4071
Fiona M. McGovern +44 20 7318 4054
London
Lane Clements McLean +44 20 7318 4032 New York
Philae Knight +1 212 940 1313
Exhibitions
Sara Tayeb-Khalifa +1 212 940 1383
Edwin Pennicott +44 20 7901 2909
Communications and Marketing
Arts Partnerships
Michael Sherman, Chief Communications
London
and Public Relations Ofcer +1 212 940 1384
Isa Tharin +44 20 7318 4024
Katie Carder +44 20 7901 7938
New York Jaime Israni, PR Specialist +1 212 940 1398
Lauren Shadford +1 212 940 1257 Trish Walsh, Director of Marketing & Events +1 212 940 1224
Cecilia Wolfson +1 212 940 1258 Emma Miller Gelberg, Associate Manager,
Private Sales Marketing and Business Development +1 212 940 1291
Susanna Brockman +44 20 7318 4041 Charlotte Adlard, Marketing Associate +44 207 901 7905
Georgia Trotter, Events Manager +44 20 7318 4085
Proposals
London Creative Services
Arianna Webb +44 20 7901 7941 Andrea Koronkiewicz, Director of Creative Services +1 212 940 1326
Orlann Capazorio, Director of Production +1 212 940 1281
New York
Lauren Zanedis +1 212 940 1271 London
Eve Campbell, Creative Services Manager +44 20 7901 7919
Ofce of the Chairman and Chief Executive Ofcer and Chief of Staf Moira Gil, Graphic Designer +44 20 7901 7917
Lucinda Newman +44 207 318 4099 Laurie-Ann Ward, Graphic Designer +44 20 7901 7918
Executive Assistant to the Senior Executives New York
Elizabeth Anne Wallace +1 212 940 1303 Jef Velazquez, Production Artist +1 212 940 1211
Christine Knorr, Graphic Designer +1 212 940 1325
James Reeder, Graphic Designer +1 212 940 1296

NY_TCA_DAY_NOV16_176-235_v5.indd 224 21/10/16 17:52


Sale Information
Department 20th Century & Contemporary Art Department

Auction & Viewing Location Head of Sale


450 Park Avenue New York 10022 John McCord +1 212 940 1261
jmccord@phillips.com
Auction
17 November 2016 at 11am Associate Specialists
Katherine Lukacher +1 212 940 1215
Viewing klukacher@phillips.com
5 16 November
Monday Saturday 10am 6pm Samuel Mansour +1 212 940 1219
Sunday 12pm 6pm smansour@phillips.com

Sale Designation
Cataloguer
When sending in written bids or making
Annie Dolan +1 212 940 1288
enquiries please refer to this sale as NY010816 or
adolan@phillips.com
20th Century & Contemporary Art Day Sale.

Administrator
Absentee and Telephone Bids
Carolyn Mayer +1 212 940 1206
tel +1 212 940 1228
cmayer@phillips.com
fax +1 212 924 1749
bidsnewyork@phillips.com
Property Manager
Ryan Falkowitz +1 212 940 1284
rfalkowitz@phillips.com

Photography
Kent Pell
Matt Kroenig
Jean Bourbon
Marta Zagozdzon

Auctioneers
Hugues Joffre - 2028495
August Uribe - 0926461
Sarah Krueger - 1460468
Henry Highley - 2008889

Catalogues
Emma Miller Gelberg +1 212 940 1240
catalogues@phillips.com
$35/25/22 at the gallery

Client Accounting
Sylvia Leitao +1 212 940 1231
Buyer Accounts
Michael Carretta +1 212 940 1232
Seller Accounts
Carolina Swan +1 212 940 1253

Client Services
450 Park Avenue +1 212 940 1200

Shipping
Ruth Ballester 212-940-1320
Dakota Peschel 212-940-1363
Steven Orridge 212-940-1370

Front cover John McCracken, Chiefain, 1992, lot 136


The Estate of John McCracken, Courtesy David Zwirner,
New York/London
Back Cover Jack Goldstein, Untitled, 1983, lot 126
The Estate of Jack Goldstein

NY_TCA_DAY_NOV16_176-235_v5.indd 225 21/10/16 17:52


450 Park Avenue New York 10022
phillips.com +1 212 940 1200
bidsnewyork@phillips.com

Please return this form by fax to +1 212 924 1749 or email it to bidsnewyork@phillips.com at least Private purchases: Proof of identity in the form of
24 hours before the sale. Please read carefully the information in the right column and note that it government-issued identification will be required.
is important that you indicate whether you are applying as an individual or on behalf of a company. Company purchases: If you are buying under a business
entity we require a copy of government-issued identification
Please select the type of bid you wish to make with this form (please select one): (such as a resale certificate, corporate bank information
or the certificate of incorporation) to verify the status of
In-person Paddle Number
the company.
Absentee Bidding Conditions of Sale: All bids are placed and executed, and all
Telephone Bidding lots are sold and purchased, subject to the Conditions of Sale
printed in the catalogue. Please read them carefully before
placing a bid. Your attention is drawn to Paragraph 4 of the
Please indicate in what capacity you will be bidding (please select one): Conditions of Sale.
As a private individual If you cannot attend the sale, we can execute bids
On behalf of a company confidentially on your behalf.
Phillips charges the successful bidder a commission, or buyers
premium, on the hammer price of each lot sold. The buyers
Sale Title Sale Number Sale Date premium is payable by the buyer as part of the total purchase
price at the following rates: 25% of the hammer price up to and
Title First Name Surname
including $200,000, 20% of the portion of the hammer price
above $200,000 up to and including $3,000,000 and 12% of
Company (if applicable) Account Number
the portion of the hammer price above $3,000,000 on each
Address lot sold.
Buy or unlimited bids will not be accepted. Alternative bids
can be placed by using the word OR between lot numbers.
For absentee bids, indicate your maximum limit for each lot,
City State/Country
excluding the buyers premium and any applicable sales or
Zip Code use tax. Your bid will be executed at the lowest price taking
into account the reserve and other bidders. On no reserve
Phone Mobile lots, in the absence of other bids, your bid will be executed
at approximately 50% of the low pre-sale estimate or at the
Email Fax amount specified, if less than 50% of the low estimate.
Your bid must be submitted in the currency of the sale and will
Phone (for Phone Bidding only)
be rounded down to the nearest amount consistent with the
auctioneers bidding increments.
Phone number to call at the time of sale (for Phone Bidding only)
If we receive identical bids, the first bid received will take
1. 2. precedence.
Arranging absentee and telephone bids is a free service
provided by us to prospective buyers. While we will exercise
Please complete the following section for telephone and absentee bids only reasonable care in undertaking such activity, we cannot
accept liability for errors relating to execution of your bids
Lot Number Brief Description US $ Limit* except in cases of willful misconduct. Agreement to bid by
In Consecutive Order Absentee Bids Only
telephone must be confirmed by you promptly in writing or by
fax. Telephone bid lines may be recorded.
Please submit your bids to the Bid Department by fax at
+1 212 924 1749 or scan and email to bidsnewyork@phillips.
com at least 24 hours before the sale. You will receive
confirmation by email within one business day. To reach the
Bid Department by phone please call +1 212 940 1228.
Absent prior payment arrangements, please provide a bank
reference. Payment can be made by cash (up to $10,000),
credit card (up to $100,000), money order, wire transfer, bank
check or personal check with identification. Please note that
credit cards are subject to a surcharge.
Lots cannot be collected until payment has cleared and all
charges have been paid.
By signing this Bid Form, you consent to our use of your
personal data, including sensitive personal data, in accordance
with Phillipss Privacy Policy published on our website at www.
phillips.com or available on request by emailing
dataprotection@phillips.com. We may send you materials about
us and our services or other information which we think you may
fnd interesting. If you would prefer not to receive such
* Excluding Buyers Premium and sales or use taxes information, please email us at dataprotection@phillips.com.
Phillipss premises may be subject to video surveillance and
recording. Telephone calls (e.g., telephone bidding) may also be
recorded. We may process that information in accordance with
our Privacy Policy.
Signature Date

By signing this form, you accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

NY_TCA_DAY_NOV16_176-235_v5.indd 226 21/10/16 17:52


Index

Albers, J. 179 Halley, P. 181 Rauschenberg, R. 142


Als, F. 207, 208 Haring, K. 144, 145, 146 Ray, C. 127
Andersson, M. 197 Hatoum, M. 135 Reed, D. 228
Andre, C. 171, 172 Herrera, A. 209 RETNA 124
Arunanondchai, K. 106, 107 Hesse, E. 165 Rhoades, J. 224
Horn, R. 222, 223 Richter, G. 183, 246
Barney, M. 214 Rondinone, U. 129
Basquiat, J.-M. 143 Israel, A. 130
Becher, B. & H. 132 Saunders, M. 239
Beshty, W. 220 Jensen, S. 232 Schendel, M. 189 - 192
Bochner, M. 173 Sui Jianguo 210 Schutz, D. 114
Bourgeois, L. 157 - 163 Johnson, R. 108 Schwontkowski, N. 241
Bradley, J. 117, 122 Judd, D. 174 Scully, S. 169, 170
Brodmann, V. 103 Juliano-Villani, J. 104 Siena, J. 230
Burden, C. 137 Smith, J. 238
Kapoor, A. 202, 203 Stella, F. 176, 177
Calero, S. 102 Kaprow, A. 198 Strachan, T. 200
Callegari, M. 242 Kelly, E. 154
Chadwick, L. 166 Koons, J. 247 Takamatsu, J. 206
Chamberlain, J. 175 Kruger, B. 225 Thomas, M. 227
Colen, D. 121 Thompson, C. 243
Condo, G. 115 Lara, A. 123 Tinguely, J. 167
Connors, M. 101 Lassry, E. 213 Tomaselli, F. 231
Cornell, J. 156 Le Corbusier 164 Turk, G. 237
Corse, M. 134 Lewitt, S. 150 Turrell, J. 138
Crewdson, G. 217 Longo, R. 125
Ufan, L. 204, 205
DArcangelo, A. 178 Mangold, R. 180
De Kooning, W. 151 Manning, M. 245 Valdes, M. 187
Demand, T. 133, 216 Marden, B. 152, 153 Vitale, M. 236
Dunham, C. 131 Martin, A. 182 Vo, D. 112
Durant, S. 118 McCracken, J. 136
Mendieta, A. 212 Walker, Ka. 116
Eliasson, O. 199 Muniz, V. 226 Walker, Ke. 111, 119
Elrod, J. 110 Mutu, W. 235 Warhol, A. 139, 140, 141, 147
Emin, T. 201 Warren, R. 185
Nabil, Y. 221 West, F. 240
Feher, T. 128 Nara, Y. 234 Williams, C. 218, 219
Flood, M. 233 Williams, M. 105
Frg, G. 184 Pape, L. 188 Williams, S. 113
Francis, S. 149 Peake, E. 244 Wurm, E. 186
Pettibone, R. 148
Genzken, I. 195 Pierson, J. 229 Zhang Xiaogang 211
Gerrard, J. 120 Polke, S. 196 Zadkine, O. 168
Goldstein, J. 126 Price, S. 109
Guston, P. 155 Prince, R. 215

NY_TCA_DAY_NOV16_176-235_v5.indd 227 21/10/16 17:53


117. Joe Bradley

NY_TCA_DAY_NOV16_176-235_v5.indd 228 21/10/16 17:53


Art The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, NY

NY_TCA_DAY_NOV16_176-235_v5.indd 229
156. Joseph Cornell

21/10/16 17:55
NY_TCA_DAY_NOV16_176-235_v5.indd 230
2016 George Condo / Artists Rights Society (ARS), New York

21/10/16 14:23
115. George Condo

NY_TCA_DAY_NOV16_176-235_v5.indd 231 21/10/16 14:23


NY_TCA_DAY_NOV16_176-235_v5.indd 232 21/10/16 17:55
187. Manolo Valds

NY_TCA_DAY_NOV16_176-235_v5.indd 233 21/10/16 17:55


NY_TCA_DAY_NOV16_176-235_v5.indd 234
Chris Burden. Courtesy of The Chris Burden Estate and Gagosian

21/10/16 14:24
137. Chris Burden

NY_TCA_DAY_NOV16_176-235_v5.indd 235 21/10/16 14:24


NY_TCA_DAY_NOV16_IFC+IBC_v5.indd 4
2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York

21/10/16 18:00
179. Josef Albers

NY_TCA_DAY_NOV16_IFC+IBC_v5.indd 5 25/10/16 16:50


phillips.com

NY_TCA_NOV_DAY_COVER_v5.indd 2 25/10/16 16:50